#13, glancing, or avoiding.
Herself
After the near death of her grandfather, Chinese Canadian filmmaker Michelle Wong embarks on a personal journey back home to her small town of St. Paul, Alberta to speak to her grandparents about their journey from China to Canada.
After disbanding the original Mothers of Invention in '69, Frank Zappa unleashed a second incarnation of the band by '70. This film focuses on the sophomore Mothers and this often-overlooked period in Zappa's career. Featuring rare footage, exclusive interviews, and contributions from many who worked with him, which all at once provide for the first film to tackle this phase in the Zappa legend
2012: Time For Change is a documentary feature that presents ways to transform our unsustainable society into a regenerative planetary culture. This can be achieved through a personal and global change of consciousness and the systemic implementation of ecological design.
What starts off as a conventional travelogue turns into a satirical portrait of the town of Nice on the French Côte d'Azur, especially its wealthy inhabitants.
Stompin' Tom performs live at the Horseshoe Tavern on Queen St. in Toronto.
The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.
A deep dive into the hidden industry of digital cleaning, which rids the Internet of unwanted violence, porn and political content.
All Creatures Welcome explores the world of hackers and nerds at the events of the Chaos Computer Club, Europe's largest hacker association. The film dispels common clichés and draws a utopian picture of a possible society in the digital age.
This documentary-drama hybrid explores the dangerous human impact of social networking, with tech experts sounding the alarm on their own creations.
In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).
Deep Web gives the inside story of one of the most important and riveting digital crime sagas of the century -- the arrest of Ross William Ulbricht, the 30-year-old entrepreneur convicted of being 'Dread Pirate Roberts,' creator and operator of online black market Silk Road. As the only film with exclusive access to the Ulbricht family, Deep Web explores how the brightest minds and thought leaders behind the Deep Web and Bitcoin are now caught in the crosshairs of the battle for control of a future inextricably linked to technology, with our digital rights hanging in the balance.
This film is shot to point out the flood of commercial messages in television program, on billboards and megaboards, messages that take over our subconscious mind. We Love Belgrade is a log-line that justifies huge investments. This shining out of advertisement messages is just a curtain that hides carelessness towards the environment and human lives. The whole Belgrade became a commercial to sell itself, by constantly sending ads to its citizens. Could a commercial have any influence on a young mother of two whose only source of money comes from trash cans?
Shot under extreme conditions and inspired by Mayan creation theory, the film contemplates the illusion of reality and the possibility of capturing for the camera something which is not there. It is about the mirages of nature—and the nature of mirage.
Beavers shot The Hedge Theatre in Rome in the 1980s. It is an intimate film inspired by the Baroque architecture and stone carvings of Francesco Borromini and St. Martin and the Beggar, a painting by the Sienese painter Il Sassetta. Beavers’ montage contrasts the sensuous softness of winter light with the lush green growth brought by spring rains. Each shot and each source of sound is steeped in meaning and placed within the film’s structure with exacting skill to build a poetic relationship between image and sound.
A short, educational animation about the history of fonts and typography. In a paper cutout stop-motion style, it begins with Gutenberg's creation of the first typeface, travels through the innovations of Jenson, Caslon, and Bodoni, to the modern creation of Futura and the democratization of fonts in the digital age. A charming, engaging film about a technology that is all around us, but few people know much about.
Werner Herzog's exploration of the Internet and the connected world.
A portrait of the life and work of the great Hungarian composer Béla Bartók, exploring both his music and his passionate interest in his country's folklore.
This episode focuses on Zappa's early 70s albums, Overnight Sensation (1973) and Apostrophy (') (1974). Together they encapsulate Zappa's extraordinary musical diversity and were also the 2 most commercially successful albums that he released in his prolific career. Included are interviews, musical demonstrations, rare archive & home movie footage, plus live performances to tell the story behind the conception and recording of these groundbreaking albums. Extras include additional interviews and demonstrations not included in the broadcast version, 2 full performances from the Roxy in 1973 and Saturday Night Live in 1976, and new full live performance done specially for these Classic Albums.
Songs for Drella is a concept album by Lou Reed and John Cale, both formerly of The Velvet Underground, and is dedicated to the memory of Andy Warhol, their mentor, who had died unexpectedly in 1987. Drella was a nickname for Warhol coined by Warhol Superstar Ondine, a contraction of Dracula and Cinderella, used by Warhol's crowd. The song cycle focuses on Warhol's interpersonal relations and experiences, with songs falling roughly into three categories: Warhol's first-person perspective (which makes up the vast majority of the album), third-person narratives chronicling events and affairs, and first-person commentaries on Warhol by Reed and Cale themselves. The songs on the album are, to some extent, in chronological order.