1968-01-01
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A harrowing, gorgeous, in-your-face-and-mind 45-minute black-and-white film by Marty Topp, produced by Ira Cohen for Universal Mutant. “Marty Topp’s beautiful film of ‘Paradise Now’ reveals how the theories of revolutionary change and the experience of sexual liberation are not separate paths to the beautiful nonviolent anarchist revolution. Practiced together they are a single thrust, encompassing both political action and sensual joy, leading to the dreamed-of terrestrial paradise.
Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a couple injured in a car crash. A man, stripped of his identity, dies in bed with actors expressing his agony. A cheerful, innocent young man walking a city street in a time of war pays a price for this innocence. A couple talks about cinema while it watches another couple talk of love and truth on the eve of one character's return to Cuba. Striking students take over a university classroom; an argument follows about revolution or incremental change.
A title card announces that the film is a result of found footage assembled by cameraman J.J. Burden working for the acclaimed documentary filmmaker Jim Dunn, who has disappeared. Leach, a heroin addict, introduces the audience to his apartment where other heroin addicts, a mix of current and former jazz musicians, are waiting for Cowboy, their drug connection, to appear. Things go out of control as the men grow increasingly nervous and the cameraman keeps recording.
a 32-minute color film by Gwen Brown, featuring precious footage of Living Theatre productions “Mysteries” and smaller pieces, “Paradise Now” and “Frankenstein.” “The fusion of Brown’s freewheeling direct cinema and the Living Theatre’s performance for revolutionary change (amidst the heydays of both) unite as a dynamic concoction of the era, yielding for the viewer a shifting terrain of both critical insight and ecstatic zeal, not as a vacant nostalgia for a pre-commodified radicality, but as tactical inspiration for future days.” – Andrew Wilson (Artist’s Access Television)
An ultra-realistic depiction of life in a Marine Corps brig (or jail) at a camp in Japan in 1957. Marine prisoners are awakened and put through work details for the course of a single day, submitting in the course of it to extremely harsh and shocking physical and mental degradation and abuse.
A professional recording of the official play. The play has a play-within-a-play format, with characters Jim Dunn as the "producer" and Jaybird as the "writer" attempting to stage a production about the underbelly of society using "real" addicts. Some of the addicts are jazz musicians. They all (except for the "producer", "writer", and two "photographers") have one thing in common: they are waiting for their drug dealer, their "connection". The dialogue of the characters is interspersed with jazz music.
Jérôme Bel's show features the memories of spectators at the Avignon Festival.
The body of a Real Housewife is an apparatus, an assembly of parts—hair, lips, dress, falsies, mic pack, cell phone, wine stem, camera, restaurant, brand, identity. This body is maintained and degraded, intoxicated and cleansed, in seasons and cycles, systems of supply and denial. The self needs a medium. Who cares who you are when you’re alone anymore?
Commissioned work by Julian Beck and members of The Living Theatre (featuring Beck and Judith Malina, co-founders of The Living Theatre, in performance) for broadcast on KQED-TV, San Francisco. The Dilexi Series represents a pioneering effort to present works created by artists specifically for broadcast.
At least forty films have been made about the Living Theatre; it remained to the American underground filmmaker Sheldon Rochlin (previously responsible for the marvellous Vali) to make the 'definitive' film about one of the most famous of their works, Paradise Now, shot in Brussels and at the Berlin Sportpalast. Made on videotape, with expressionist colouring 'injected' by electronic means, this emerges as a hypnotic transmutation of a theatrical event into poetic cinema, capturing the ambiance and frenzy of the original. No documentary record could have done it justice.
At the beginning of the Civil War, Union gunboats sailed into Port Royal Sound, on the Sea Islands off the coast of Georgia. White plantation owners fled, and the 10,000 blacks who lived there, almost all of whom were slaves, were freed in the first test of President Abraham Lincoln's dream of emancipation. Charlotte Forten, a 21-year-old educated black woman, helped the freed slaves to begin to build a new society. That experience forms the plot of this drama, based on Charlotte Forten's journals, which was telecast on "American Playhouse."
Yahya, a village youth makes a great effort to improve his family life. A decision that will make him pay a heavy price.
Chronicles the series of racially motivated serial killings, black on white, that took place in San Francisco in 1973 and 1974. The story focuses on the two detectives who looked to solve the crimes.
Set in the year 2029 after a decade long pandemic kills over four billion people worldwide, SARS-29 is a fictional documentary that explores how the world has changed through the stories of thirty survivors.
Boris is around 20 years old and lives on the road with his disturbed father. When his boss offers him a better job at the restaurant where he works, Boris sees a way out off this rambling life.
Veteran defense attorney Konrad Biegler and tenacious police inspector Peter Nadler face off in the trial of a man accused of kidnapping a young girl. (Abridged version of Enemies: Against the Clock and Enemies: The Confession, focusing on the ins and outs of the judicial process.)
Death stalked Garou's Landing, in the Canadian frozen north, but who was the killer who murdered two men and left them huddled in the snow. Sergeant Renfrew (James Newill, of the Royal Canadian Mounted Police, accompanied by his dog, Silver King (Silver King the Dog), and Kay Larkin (Terry Walker) the daughter of the man, Andrew Larkin (Robert Frazer) accused of the crime, sets out to solve the crime and bring the real killer to justice.
The arrival of a handsome new farmhand threatens the balance between a farmer and his daughter.