Musician and writer Elizabeth Sankey investigates the past, present and future of romantic comedies, assisted by a chorus of critics, actors and filmmakers. An essay on film genre and also gender in film, allowing a reflection on idealized amorous relationships.
In the late 1990s, photographer Bruce Weber convinced Robert Mitchum to appear before his camera for a filmed portrait, shot in 35 and 16mm black and white film. They hang out with friends in restaurants and hotel rooms and record a never finished music album.
A man (the director Gastón Solnicki) wanders the streets of Vienna, guided by the memory of a friend who has recently passed away (film critic and curator Hans Hurch). The vestiges of a once sumptuous empire become the setting for a cinematic elegy.
Norbert Pfaffenbichler returns to his series “Notes on Film”, centered around famous Hollywood actors. “Invest in Failure” proposes an original approach to James Mason’s cinematic persona with excerpts from the actor’s approximately 160 film titles.
Early 2010, Jean Luc Godard shots “Film Socialisme” incognito, aboard the Concordia cruise ship. Three years later the same ship wrecks into the Mediterranean sea. “Film catastrophe” investigates the case.
In a film theater with red chairs, Anna Karina comments on her journey through cinema and music, with special regard on the decisive encounters with Jean-Luc Godard and Serge Gainsbourg.
Antoine Doinel is 17, lives in a hotel and loves music. He falls in love with a woman he meets at a concert. She sees him as a friend, but her parents love him. Programmed together with Quentin Papapietro’s “En fumée”.
Alice Guy-Blaché was the ‘first’ female film director. She made her first film in 1896, at age 23, and went on to write, direct, or produce more than 1,000 films. This is the story of her legacy and how film historians forgot about her.
Blacklisted gay communist 1940’s character actor Will Geer became Grandpa Walton in the hit series “The Waltons”. How so?
When Mrs. Tremayne is poisoned with gas, ambulance driver Frank Jessup (Robert Mitchum) meets her refined but sensuous stepdaughter, who quickly pursues him. Programmed together with “Nice Girls Don’t Stay for Breakfast” on Mitchum’s career.
A perfect example of the film production strategy of the Third Reich as the supreme case of “escapist” cinema during the war, which is famous for the musical numbers, the use of Agfacolor and for the stylization of the scenarios. To be seen together with Hitler’s Hollywood.
Años luz is a rare document about the creative process of Lucrecia Martel, one of the most influential artists of the last decade. A film that reveals, in long observational shots, her unshakable posture and meticulous direction, during the shooting of Zama.
Shot in Italy, with the family of the italian filmmaker Tonino De Bernardi. A film about transmission between generations, about their love, their respect for life and art, and each other.
Gustav Deutsch edits together a series of old home movies, produced by emigrants scattered around the world. Their films served, at the time, as newsreels for the neighbors and relatives who could not travel. But nowadays, moving images still have this power.
★ is a chronologically supercut of starry night skies from more than 550 different films. A journey through astral space that also walks through the history of cinema: the various formats and supports, color and sound format and the evolution of special effects.
That Summeris centered on a Peter Beard’s 1972 film project that was never finished but would end up being the starting point for the direct cinema masterpieceGrey Gardens. Lost for decades, this extraordinary footage re-emerges in a film that focuses on Beard and his family.
Paul Henreid is most famous for his roles in Casablanca. He became a star at Warner Brothers during World War II, as the exotic lead. After the war, his contract was cancelled and he was left to his own devices. He continued acting and also began producing and directing.
The screen is a neutral element in the film-going experience. Or is it? It projects dreams but it is also the receptacle of our dreams. And does it also watch the audience at the same time? Cinema as a two way street.