er selbst
2005-01-01
0
Jackass Number Two is a compilation of various stunts, pranks and skits, and essentially has no plot. Chris Pontius, Johnny Knoxville, Steve-O, Bam Margera, and the whole crew return to the screen to raise the stakes higher than ever before.
The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a 'pee' gun on themselves, having a mini motor bike fracas in the grocery mall, a sperm test, a portly crew member disguised as King Kong, as well as include three episodes of their hilarious adventures in India.
A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?
Johnny Knoxville and his band of maniacs perform a variety of stunts and gross-out gags on the big screen for the first time. They wander around Japan in panda outfits, wreak havoc on a once civilized golf course, they even do stunts involving LIVE alligators, and so on.
The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
The film examines the painful relationship between fathers and sons through the eyes of one family. Four generations of men are featured in the film. Father to Son deals with the conflict between generations and their subjective memories, and the way different methods of raising children pass from one generation to the next. How often and to what extent do we repeat the behavioural patterns of our fathers; can we change or break these patterns or is repeating them inescapable, and how many generations are needed for change to occur? Are the values we have inherited from our fathers still valid in the modern world? One of the leading themes of this film is the sensitivity of a man and a boy, and its preservation and suppression.
Photos, animation, and music illustrate the story of the Beatles.
What kind of world power is Iran becoming, and how will Western countries deal with it?
Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fueled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley and Dan Colen before his death by heroin overdose in 2009. Drawing from Snow’s unforgettable body of work and involving archival footage, Cheryl Dunn’s exceptional portrait captures his all-too-brief life of reckless excess and creativity.
In this "beautifully intimate and utterly unique piece of cinema", Toby Amies crosses the line between filmmaker and carer, trying to cope with the strange and hilarious world view of the fragile eccentric, Drako Zarharzar. A love story. Drako Oho Zaraharzar can remember modeling for Salvador Dali and hanging out with The Stones. But he can’t remember yesterday. Following a severe head injury, Drako Zaraharzar suffers from terrible memory loss, he can access memories from before his accident, but can’t imprint new ones. As he puts it, “the recording machine in my head doesn’t work”. Consequently, and as an antidote to depression he chose to live “completely in the now” according to the bizarre mottoes delivered to him whilst in a coma.
A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.
"How Every Film You Watch Tells You To Love The Rich and What To Do About It" explores the representations of wealth in cinema. It looks into how most beloved characters are subtly more well-off than they should be, how criticisms of the system are crushed, how the rich have become the average in the world of the cinema. And it shows how these stories distort the view of the real world, and are used against you by politicians.
Poet and artist Vito Acconci points his finger towards the camera and his own reflection in an offscreen video monitor.
A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.
Unboxing Eden is a YouTube collage about snake breeders and their animals. The video documents the arrival, the breeding and the handling of snakes in all shapes and sizes.
"Visionary post-war modernist Tyeb Mehta channels the nightmares of the nation in Koodal, at once the artist’s self-described “autobiography” and a profound meditation on collage, crowd control, cinematic subjectivity and the violence buried within every glorious act of foundation." -- Sarkari Shorts
Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.
Produced by Alfred Higgins Productions with assistance from the University of Missouri-Columbia’s Academic Support Center Film Library, Keep America Beautiful, Inc., and Keep Los Angeles Beautiful, Inc., the 1963 short film A Land Betrayed examines the various ways people have spread the “cancer of ugliness” across America and offers call-to-action solutions to combat the nation-wide problem.
A five-channel video installation commissioned for the permanent exhibition space at the Australian Centre of the Moving Image (ACMI). “The camera doesn’t just capture us, it frames who we are and how we’re seen. Since the camera became more accessible in the mid-20th century, artists and amateurs alike have turned the lens on themselves to create a stage both private and public. This tradition is continued, amplified and transformed through reality TV, the internet and social media, the latest forms to use straight-to-camera techniques to share our common humanity, project authenticity and illuminate how a sense of self can be constructed through the moving image.”