Documentary

Quote:
Krsto Skanata approached his subjects in the style of direct cinema. He tried to follow the path of the truth and make films that would reveal the essence of the problem. At the same time, he was smart enough to nuance his approach in such a way that censors would accept and approve the film. One of his first films, In the Shadow of Magic/U senci magije (1955), uncovers the deep backwardness in socialist Yugoslavia. His film First Case-a Man/Prvi padez-covek (1964) addresses the human dignity of a miner who loses his arm and has to struggle on his own. Soldier, At Ease!/Ratnice, voljno! (1966) focuses on the tragedy of a soldier who fought in the war and believed in a certain ideology that he later realised was false.Read More »

Synopsis
Phases of Matter follows living and inanimate residents of a teaching hospital in Istanbul, moving from the operating room to the morgue, between life and other states, the real and the virtual.Read More »

Quote:
Lutz Eisholz’s first feature film was produced at West Berlin’s German Film and TV Academy. In an experimental documentary he portrays the working class outcast Bruno S., who prowls the city as a street musician, performing his own songs. The film unfolds Bruno’s story: abandoned by his mother as a child, he was maltreated in correctional institutions in Nazi Germany. On release after WWII he found work but started performing at the same time as a self-taught musician and poet. Although incapable of “normal” human bonding, he was still able to rejoice in life. When Werner Herzog saw this film he recognized Bruno’s potential and hired him to play starring roles in The Enigma of Kaspar Hauser (1974), Heart of Glass (1976) and Stroszek (1977).
–UCLA Library Film & Television ArchiveRead More »

Directed by the brother of Peter Schickele (P.D.Q. Bach), this film features an early performance from David Lynch favorite, Jack Nance!

“The film describes the experiences and misadventures of a young Nigerian, nicknamed Gabriel, who comes to America for the first time, settles in the Bay Area and attends San Francisco State College.”
-MUBIRead More »

Synopsis: Agustina has been a shepherdess for as long as she can remember. Throughout her life she has had three great loves. Between dreams and memories she sings about everything that has and has not been. Agustina lives with Dionisio in a rural community called El Saltillo in Guanajuato, Mexico. Serranillas are medieval spanish compositions dealing with some kind of amatory adventure in rural landscapes.Read More »

Often referred to as the “”Godfather of Video Art””, Nam June Paik was one of the founding fathers of avant-garde art in the 20th century and arguably the most famous Korean contemporary artist. For the first time, debut filmmaker Amanda Kim profiles his art and life, telling the story of Paik’s meteoric rise in the New York art scene and his Nostradamus-like visions of a future in which “everybody will have his own TV channel”. Featuring an extensive archive of performance footage, original interviews from Paik’s contemporaries and collaborators, and a voiceover narration of Nam June Paik’s writings read by Executive Producer Steven Yeun (Minari, Nope), NAM JUNE PAIK: MOON IS THE OLDEST TV is a timely meditation on the contradictory ways in which technology elicits both fascist tendencies and intercultural understanding.Read More »

SYNOPSIS
A poultry farm, ultra modern for its time, has in its structure a kindergarten for the children of the employees. The parallels between raising chickens and the kindergarten’s program serve as a serious meditation on the human condition. The film was banned in Romania.Read More »

Summary:
“Signos” features interviews of courageous personalities who challenged the autocratic rule of the Marcos family.Read More »

Tony Rayns in Time Out Film Guide wrote:
When Office Kitano commissioned Shinozaki to record Kitano’s work on Kikujiro from the start of shooting to the screening of the ‘A’ copy, they knew he wouldn’t do a standard ‘Making of’. Since Kitano shot the film more or less in sequence and improvised a lot, Shinozaki is able to turn his documentary into an authentic ‘bootleg’: an anthology of out-takes, mistakes and deleted scenes which adds up to a ‘parallel’ version of the film itself. It’s also a very candid portrait of Kitano in his self-deprecatory prime – especially when nearly lost for words during a social chat with Hou Xiaoxian. One caveat: Kitano himself sings the song under the end credits.Read More »