1968-01-01
0
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.
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 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.
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 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.
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.
Vicky loves Meena. He cheats her and she commits suicide. Finally she comes back for avenge.
A 1913 short directed by Stanner E.V Taylor and starring Marion Leonard.
In modern day Shanghai, a wealthy housewife’s life of luxury becomes increasingly disrupted by the presence of a young ghost.
On the biggest day of his career, a scheming street photographer runs from debt collectors, chases an ex-girlfriend, and tries to turn his bad luck around.
Female detective Eiko Kagami is on a sting operation to lure and arrest a stalker with her beauty. One day, one after another, call girls who are friends of Kenichi Yoshii, a popular writer, are murdered. All of them were killed immediately after having relations with each other, and Yoshii's book “Crazy Love” was always left at the murder scene, the torn pages seeming to be intended as a message from the murderer. Furthermore, Yoshii's close secretary and lover, Michiko, was arrested as the murderer, and the case seemed to be solved. However, the true culprit's footsteps were approaching close to Yoshii...!
An emotional journey of a 45 year old lady who is desperate to get a baby which is not possible biologically and about her husband who is a silent viewer of his wife's pain.
Moroccan-Dutch actor and stage performer Nasrdin Dchar attempts to make sense of the chaos that was the year 2020.
The common theme of the short story film is the famous duels between two important historical figures: Pushkin and Casanova. Pushkin's tragic duel, which ended his life prematurely, is portrayed in connection with the creation of his short story "The Dirty Shot", while Casanova's story is conceived in a rather ironic and humorous way. The point is that the famous seducer never actually seduced, on the contrary, all his life he was in a constant battle with female seductions.
It begins with a chaotic rush of teen hormones when white middle-class teenager Leah gets together with Benji who is black and poor. Leah begins taping Benji and posting these videos of his life revealing his intriguing mix of charisma and shyness – but when this proves boring to audiences, the two of them embark down a path that becomes increasingly violent, ominous and eventually spirals out of control.