Synopsis: An experimental documentary about the street drag racing scene on Chicago’s near West Side.
This is a rambling, textured film about obsession. It is about the mythos of speed for its own sake, and it is about waiting. While waiting, The BLVD exposes community, inner-city landscapes and nomadic experiences of place. The film treats storytelling as a living medium for determining history. And it commands respect for those who transform cars, or anything else, through passion.Read More »
Shot with 16mm film stock that expired in 2002—the same year as the state-sponsored anti-Muslim genocide in Gujarat—and filmed amid the anti-CAA protests in Delhi, the filmmaker traces lines and lineages of ancestral memory, poetry, history, songs, and ruins from his birth in 1989.Read More »
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For many of us, when we first hear the name Mosul City, we immediately think of the brutal reign of the so-called “Islamic State”, of humanitarian crisis, devastation and slow recovery. However, this film tells the story of Mosul beyond these stereotypes, examining the aftermath of war, the environment of the city and its communal places as well as the once thriving energy of the city and its multi-ethnic inhabitants.Read More »
Gustave Courbet, The Origin of his World
Gustave Courbet (1819-1877), painter of real life, the earth, and material things, was so much a part of his era he lost himself in it. He paid for this dearly: wealthy and famous in this youth, he was later obliged to chum out paintings to avoid starvation.
“Only an hour long, Romain Goupil’s 2007 documentary on Gustave Courbet, the great French 19th-century realist painter, still expands your mind and heightens your reactions, with the lucidity and grace of all the best art (and criticism). Courbet was a terrific character, a rebel from the bourgeoisie, who accomplished in paint the revolution that he couldn’t quite manage in life. A lifelong anti-clericist and socialist, he was an important figure in the Paris Commune, a political indiscretion for which he later paid dearly, with exile and bankruptcy.Read More »
Wang Shin-hong is suffering from insomnia. A fortune teller advises the Mandalay businessman, whose car and bulging wallet suggest that business is going pretty well, to spend 14 days in a monastery, living life as a monk and eating an apple a day.Read More »
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Underground is a 1976 documentary film about the Weathermen, the militant faction of the Students for a Democratic Society (SDS) who fought to overthrow the U.S. government during the 1960’s and 1970’s. The film consists of interviews with members of the group after they went underground and footage of the anti-war and civil rights protests during this time period. It was directed by Emile de Antonio, Haskell Wexler and Mary Lampson, who were subpoenaed by the Federal Bureau of Investigation in an attempt to confiscate the film footage in order to gain information that would help them arrest the Weathermen.Read More »
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Information film that was an important part of the rural electrification campaign, set up as part of the New Deal policies of president F.D. Roosevelt. Privatised electricity companies of the U.S. cities saw no profit in bringing electricity all the way to the sparsely populated countryside, so the ministry of Agriculture tried to convince farmers to set up co-operations which in turn could buy power from the government.
Ivens selected a model farm and family, the Parkinsons, and shows the daily life on the farm before and after the installation of electricity. The films was seen by over 6 million people until 1961 and houses besides the two main components of American culture (untamed pastoral nature versus industrial progress) many autobiographical aspects. The whole film is staged with the farmer’s family acting as themselves. Today we’d call this a docudrama. The Parkinson’s farm had already been electrified several months before the shooting.Read More »
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The Zuiderzee Works episode of We Are Building was elaborated to the much longer film Zuiderzee by Joris Ivens in 1930. In 1934 Ivens used the same material, and additional footage, to make another version: New Earth. This time the film got a political message, and the editing became more compact and stronger, sustained by the stirring Music of Hanns Eisler. After the part on the reclamation and the closing of the dyke the film continues with images of the economic crisis and the poverty among labourers. Ivens opposes this with the speculation on the market: those who helped with the reclamation of new land for agriculture are now unemployed and starving, while grain is dumped at see to keep the prices up. The closing of the dyke is still one of the strongest editing sequences in the films of Joris Ivens.Read More »
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Representing the passing of time has always been – and continues to be – a major concern for many artists. Argentinian filmmaker María Alvarez makes her contribution by exploring this theme through the lens of cinematic arts. Armed with her camera, she recorded the daily lives of film-lovers in three countries: Argentina, Uruguay and Spain. The outcome, Las Cinéphilas, is a documentary anthology that draws up a portrait of women who do not know each other but share a common passion.Read More »