A tour of the ancient Cambodian temples of Angkor Wat and Bayon
Narrator (voice)
A tour of the ancient Cambodian temples of Angkor Wat and Bayon
1934-01-01
0
A fist-person story of the director of the documentary, who talks about the loneliness that entails living with an eating disorder and her vision now thar she is entering into adulthood.
Canadian author, humorist and storyteller W.O. Mitchell talks about his career as a writer and performer. Known for his witty radio and television appearances, Mitchell shows a more serious side as he reveals his personal views on writing and on the meaning of life and death.
After the killing of George Floyd, a queer black woman in Los Angeles is determined to capture the spirit of a mass social movement, so she hits the streets, camera in hand.
Manuel Andrade, after designing the Pumas logo, was forgotten in the history of the club. Today in the midst of poverty and his health problems, he decides to question the meaning of life.
Nolo, a young skater, shows us how skateboarding survives and develops in Celaya, Guanajuato, one of the most dangerous cities in the world.
An aspiring documentary filmmaker named Simon Rosenthal tries to get some attention for his film about skinheads versus Turkish immigrants. However, as a Jewish man in today's Germany, his fears for the future prompt him to move to the moon.
Ocean Oasis is a fascinating journey into the bountiful seas and pristine deserts of two remarkably different, but inextricably linked worlds — Mexico's Sea of Cortés and the Baja California desert.
Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."
In 1936 and 1937 Harry Dunham shot "several hundred feet of film," being the first cameraman to penetrate into the Shensi region and obtain footage of the Communist forces in China. He smuggled his film out and placed it in the hands of Frontier Films. Leyda, Lerner, Meyers and Maddow (they had to use pseudonyms) spent four months preparing the film for publication. In that time, the Chinese situation altered to such an extent that Frontier had to change the scenario several times in order to keep up with events...the producers had to make a happy change in the theme of China Strikes Back. It was no longer a film showing the Chinese people moving toward unity. It became a pictorial history revealing the how and why behind a realized unity.
By land, by air, and by sea, viewers can now experience the struggle that millions of creatures endure in the name of migration as wildlife photographers show just how deeply survival instincts have become ingrained into to the animals of planet Earth. From the monarch butterflies that swarm the highlands of Mexico to the birds who navigate by the stars and the millions of red crabs who make the perilous land journey across Christmas Island, this release offers a look at animal instinct in it's purest form.
David Lynch, Mädchen Amick, Kyle MacLachlan and John Wentworth reminisce about "Twin Peaks" while seated at a diner counter.
As „wings of men“ they became the faithful companion of a great nomadic nation thousands of years ago. Today, 28 years after the Soviet occupation, the little horse is an essential part of the cultural heritage and the search for identity of the modern Kyrgyz people. Based on its own story, a so called „good brown horse“ leads through the film and offers an insight of what it could mean to be „todays wings of men“. Told by a horse’s voice and through its eyes, this short film still is a documentary, but also a poetic journey to a nomadic culture.
A documentary that explores the natural world of the sea, from the single-celled organism to more complex forms of life, OCEAN ORIGINS was originally filmed in the IMAX large format, which adds a crispness and clarity to the images. This documentary film seeks to examine the process of evolution by looking at the many creatures of the sea that can illustrate the way multi-cellular life emerged over the course of four billion years. OCEAN ORIGINS is a creative film that uses fascinating documentary footage to look at scientific theories and principles in an interesting manner
A Vaudeville comedian still working at 100, a stunning siren who dated Reagan when he was a Democrat, a kid out of college who sold The Ten Commandments around the world, a Disney legend who met Walt when she was a little girl and spent her life with Mickey Mouse: these showbiz vets share wisdom and inspiration garnered over seven lifetimes in the business. Residing together at the Motion Picture & Television Fund home, these entertainment lifers are "bonded by the show". These, ladies and gentlemen, are Showfolk.
There are children. There are those who abuse them. And there are those who know, but never tell.
Set in a leper colony in the north of Iran, The House is Black juxtaposes "ugliness," of which there is much in the world as stated in the opening scenes, with religion and gratitude.
Exploring the relationship between woman and dog, CORPSMAN shows the impact a service dog has on one veteran's ability to heal from the physical and moral injuries acquired while serving in the U.S. Military and in war.
WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.
This is an architectural garden of the variably brash rock-solid liquid-encompassing, but always imitative, human mind as it processes the given light thoughtfully. This film is about that.