Documentary

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Aleksander Sokurov brings the treasures of the Hermitage back into the light by making films about artists and their paintings. He has chosen the painter Hubert Robert, who spent a long time in Italy, and whose preference was for creating ancient ruined landscapes and naturalistic portrayals of times past. He was successful with the wealthy, who bought his works from him. The camera pans across the paintings while Sokurov speaks of a happy era, when the artist was at one with the spirit of the times, and agreed with the taste of his clients. Just how far removed from us this is, is shown by pictures of a “Nô” performance which are inter-cut on the screen. No words are necessary to describe what everybody knows todayRead More »

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Between 1958 and 1960 Walter Hess and Manny Kirchheimer shot black and white 16mm film from Wall Street to midtown New York to the Delaware River. They documented the activities at a huge construction site, street life in Hell’s Kitchen, New York harbor traffic, and rare glimpses of nature. Then the footage was left unedited. In 2017 Kirchheimer (DISCOVERY IN A PAINTING, TALL: THE AMERICAN SKYSCRAPER AND LOUIS SULLIVAN, STATIONS OF THE ELEVATED) took up the challenge of editing it. Once the picture was set he searched for music and sound effects that would mesh with the surrealism of the material. The result is a dynamic and compact symphony of a city.Read More »

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A film suite divided into three parts showing successively the defeat of Warsaw, the gradual awakening of the capital and the first post-war Warsaw spring. The film has no commentary, only music, whose mood and rhythm are closely related to the character of the presented images.Read More »

Following the internationally acclaimed film ARÁBIA, Brazilian filmmaker A onso Uchôa presents his new take on social injustice. In the darkness of the night and lit only by a bonfire, a young man delivers a long, sickening confession of a traumatic experience he su ered seven years before. One night, when coming back home from work, he was surprised by a group of cops looking for him at his mother’s house. Taken for another man, Rafael dos Santos was persecuted and violently abused by the police. From that moment on, his life changed forever, as if that night never ended. Read More »

Athanasia, Theodoros, George and Chrysoula live and move around Zefyri, Menidi and the wider region. They no longer live in chattels and camps, but in a modern urban environment, each according to what they can afford. Their children and grandchildren are trying to educate themselves. Through small stories about their lives, each of them slowly unfolds his own special personality. They become people with dreams, hopes and disappointments, but also with an ancestry that has importance.Read More »

For three years Rossellini and his son worked on a twelve-part series for Italian television about man’s search for food and the subsequent development of civilization.

sense of cinema wrote:
In 1963 Roberto Rossellini called a press conference and announced: “Il cinema è morto.” “Cinema is dead.”

Rossellini had lost confidence. For four years he refused to direct. He was through with art. Civilisation was collapsing from infantilism; film’s urgent task was to show the masses the map of human achievement. He marketed himself as a purveyor of educational materials. Cynics laughed as Rossellini begged funds from a steel company, Italsider, so that his son Renzo could direct the 4.5-hour The Iron Age (1964), and then convinced Jean Riboud and John de Menil to come up with $500,000 from Schlumberger, IBM, Gulf, and UpJohn so that Renzo could direct the 12-hour Italian-French-Egyptian-Roumanian Man’s Struggle for Survival celebrating the conquest of nature.Read More »

Unfinished documentary about the “March of the 100,000”, driven by the student movement against brazilian dictatorship in 1968. Glauber directed with “Antonio das Mortes'” cinematographer, Affonso Beatto. A mysterious film.Read More »

ELECTRIC EDWARDIANS: THE FILMS OF MITCHELL & KENYON

Probably the most exciting film discovery of recent times, the films of Sagar Mitchell and James Kenyon were commissioned by travelling exhibitors at the dawn of the twentieth century for screening in town halls, at village fetes or local fairs. Advertised as ‘local films for local people’, the audience paid to see their neighbours, children, family and themselves on the screen, glimpsed at local football matches, leaving work, marching in civic processions or enjoying the annual works holidays.Read More »

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To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one’s being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance.
A series of rapid contrasts, a synthesis of elemental and everyday experience.
Structures shift and intermingle, two worlds become one.Read More »