The film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, he delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock. The film cuts its cloth from the very world of the movies it discusses; by shooting at original locations and on replica sets, it creates the illusion that Zizek is speaking from within the films themselves.
Aimé has long been planning his trip to Morocco down to the last detail. But his wife Alice has never wanted to go with him. When his grandson finally takes him there and films him, the 91-year-old Aimé rediscovers life and the world.
A woman, the depressing age of 24. She makes her everyday affairs in 3 spaces. (Actuality-Room, Ideal-Forest, Dream-Woodland path).
A woman sets out to photograph moments of intimacy in public space.
Yesterday Estel joined the JROTC youth military program … today she is just hanging out with her friends.
A film that balances the precision of a Swiss watch with the messiness of a restless mind, Wide Wake is filmmaker Alan Berliner’s uniquely personal tour through his life-long obsession with insomnia. In the spirit of his highly acclaimed experimental documentary films, Intimate Stranger, Nobody’s Business and The Sweetest Sound, Berliner once again uses his own life as a laboratory ‚ this time to confront both the anguish of his sleeplessness, and the blessing of extra time that it affords his creative life.
Walking along Nevisky, I saw a girl dancing this passionate dance…
Based on Un Incompris by Henry de Montherlant. Bruno and his friend Pierre are waiting for Rosette in his Parisian bachelor flat. She is late again. But this time Bruno’s mind is made up: if Rosette is more than three quarters of an hour late, it will be over between them for good.
“V. O.” combines images from gay porn films produced before 1985 with sound from foreign language films such as Renoir’s “La Chienne”, Buñuel’s “Los Olvidados”, or Manoel de Oliveira’s “Amor de Perdição”. The resulting collisions ‚ at times comic, often melancholic ‚ pay tribute to a former era not only of gay life, but of cinephilia as well.
The protagonist of a legendary Krzysztof Kieslowski film (“From a Night Porter’s Point of View”, 1978) revisited 30 years later … This man’s views, despite the different political situation, haven’t changed.
Early 70’s, Los Angeles. “Viva” is a tribute to the best of sexploitation cinema: She was a housewife seeking kicks, in a world of swingers, orgies, booze and sin that was the sexual revolution!
Farmer Zepp planned a trip to Iceland with his wife. When she dies shortly before, he contacts a dating agency in order to find somebody who wants to take on the trip with him. As the phone doesn’t ring, he goes on the search on his own, where he encounters different women who confront him with his past. He takes on a journey. But it’s not the one he longed for.
The film is directed towards the study of the transforming Chinese landscape of the Three Gorges Area disrupted by the implementation of the world’s biggest hydraulic dam. It focuses on Yangtze river bank cities, from those in ruin or disappeared to the booming ones and tries to determine the multiple consequences on landscape and population in the prospect of the water rise.
A wolf comes to the countryside to write a masterpiece and becomes father.
Chris Hooson’s haunting past makes him pick up his guitar again and again and what emerges is as fragile as life itself. We see him recording piano fragments with his band Dakota Suite, and drum parts in Chris Hooson’s house. In Wintersong, the songwriter talks about his family, his musical work, and his day job as a social worker.
Portrait of a factory porter, a fanatic of strict discipline, who extends his power even into his personal life as he tries to control everybody and everything in the belief that “rule are more important than people. That means when a man doesn’t obey the rules,” he says, “you could say he’s a goner”.
Viewed at its seams, a collection of National Geographic landscapes from the 1960s and 70’s conjures an obsolete romanticism currently peddled to propagate entitlement and individualism from sea to shining sea; the slideshow deforms into a bright white distress signal.
Three sisters feeling the stagnation of their lives. Their helpless husbands and the children, frightened by their parents’ arguing. And then the farewell letter from the father, in which he writes that he will take his own life. It is the calm that captivates the spectator. The calm of the camera, the editing, the way the director watches…
