Documentary

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In August of 1991 New York’s Sonic Youth invited Los Angeles filmmaker David Markey along on a two week summer festival tour of Europe.Read More »

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Between 1968 and 1977 bands like Neu!, Can, Amon Düül, Tangerine Dream, Faust and Kraftwerk would look beyond western rock and roll to create some of the most original and uncompromising music ever heard. They shared one common goal – a forward-looking desire to transcend Germany’s gruesome past – but that didn’t stop the music press in war-obsessed Britain from calling them Krautrock.Read More »

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Sanrizuka – Peasants of the Second Fortress is the fourth in a series of seven films shot between 1968 and 1977 by Ogawa Productions in the fields of Sanrizuka, documenting the ongoing resistance by the farmers and their allies against the construction of a new international airport. Four years into the conflict, the authorities started the coercive expropriation of the farmlands and the violence escalated. This was met by the farmers and fighting students with a renewed sense of resistance, and with the need to organize, unite and protect themselves and the land from the riot police. They erected barricades and set up fortresses, digging underground tunnels to prepare for a long confrontation.Read More »

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A shunter’s job is to slow down, link, and unlink train wagons at a central station. The film documents – without any commentary – the working hours of few shunters at the shunting-station Dresden-Friedrichstadt, which was the largest such station in all of the former German Democratic Republic. They work day and night, amidst snow and fog at the railway tracks, speaking only as much as necessary.Read More »

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RAMS is filmmaker Gary Hustwit’s new documentary about legendary designer Dieter Rams. For over fifty years, Rams has left an indelible mark on the field of product design with his iconic work at Braun and Vitsoe, and his influence on Apple. So at 86 years old, why does he now regret being a designer? RAMS is a design documentary, but it’s also a rumination on consumerism, materialism, and sustainability. Dieter’s philosophy is about more than just design, it’s about a way to live. The film also features an original score by pioneering musician Brian Eno.Read More »

‘Let us declare that the state of war does exist and shall exist’, the revolutionary patriot had said almost a hundred years ago, and that forewarning travels into India’s present, as armed insurrection simmers in Bastar, in the troubled heart of central India. To the east too, beleaguered adivasis from the mineral-rich hills of Odisha come forth bearing their axes, and their songs. And in the north the swelling protests by Punjabi peasants sees hope coagulate – once more – around that iconic figure of Bhagat Singh, revolutionary martyr of the anti-colonial struggle. Read More »

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A documentary on the student movement in Mexico, 1968, made by film students

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A documentary of the conflicts that arose in Mexico in 1968, just before the Olympic Games, between students protesting against the corrupt government, and the police and armed forces. This documentary was made by film students, and remains one of the few graphic testimonies of all the events that led to the massacre of students in Tlatelolco.Read More »

This two-and-a-half-hour documentary by Japanese master Ogawa Shinsuke (1935-1992) is part of his seven-film series in which he documented the fight of students and local peasants against the construction of the monstrous Narita airport, against the expropriation of their farmland and their resettlement and the violent clashes between protesters and the police in the late 1960’s and early 1970’s.Read More »

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The word protected, the words embodied

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This film was born out of the encounter with a man, Fara Bâ. He wanted to testify in order not to forget those who were political prisoners at the fort of Ouatala ten years before, for having opposed the racial segregation they suffered as black people. Many of his companions died there. It is the testimonies of these former prisoners, those who survived prison, which Pierre-Yves Vandeweerd is going to collect over a ten-year period, without any camera. When it became necessary to make a film out of this, upon the request of Fara Bâ, only the words mattered. The film was to be constructed on the narrative of these years of detention, a narrative co-written with the film-maker on the basis of the testimonies of the group of survivors. Fara Ba is their spokesperson. His voice is the one which tells and it overshadows that of the film-maker whose presence vanishes for the duration of a film. The starting point is this encounter and not an intention or vision of the film-maker. The necessity of tt1e film does not come from him at first. The images are claimed by the narrative, told by the man’s voice, “spokesvoice” for his companions.Read More »