What is the essence of theatre?
Theatre 1 is a feature length documentary which closely depicts the world of Oriza Hirata, Japan’s leading playwright and director, and his theatrical company, Seinendan. By depicting them, the film leads the audience to revisit fundamental but timely questions: What is theatre? Why do human beings act?Read More »
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From a very young age, children begin to work in the Mexican countryside. The Inheritors is a journey through their lives and their daily struggle for survival. These children’s realities echo those of their ancestors. One generation after another remains caught up in a perpetual cycle of inherited poverty.Read More »
Documentation of the lion hunt performed by the gow hunters of the Songhay people, shot on the border between Niger and Mali over a period of seven years.
Icarus Films Synopsis:
Shot on the border between Niger and Mali over a period of seven years, THE LION HUNTERS is Jean Rouch’s documentation of the lion hunt performed by the gow hunters of the Songhay people.
Opening on the Niger River, the film travels north to “the bush that is farther than far “: the desert region populated by the Fulani cattle herders, who have requested the help of the gow in eliminating a lion, nicknamed “The American” for his cruel cunning, who has been killing their cows.Read More »
“A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint — and in Subrin’s words, “to investigate the mythos and residue of the late ’60s.” Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film.”Read More »
Deeply moving account of dutch war veterans from recent conflicts (the Congo, Bosnia/Herzogovina etc.) who are struggling to come to terms with their post-war lives. The crutch many of them use is music, specifically a single song, which either kept them going while they were on active duty or is a rooting experience for them as they recall the horrors of their war experiences. Read More »
In Rithy Panh’s latest exploration of the lasting effects of the Cambodian genocide, a 13-year-old boy who loses most of his family begins a search for their graves.Cambodian-born, France-based filmmaker Rithy Panh has dedicated much of his career to investigating the campaign of genocide undertaken by the Khmer Rouge during the Cambodian Civil War and memorializing its victims.
Official submission of Cambodia for the ‘Best Foreign Language Film’ category of the 91st Academy Awards in 2019.Read More »
Synopsis
When one of the most prolific art forgers in US history is finally exposed, he must confront the legacy of his 30-year con.Read More »
Step on Silence was made from raw material from Peter Martins – en danser but unlike the traditional way the Martins film communicates its material in this case we have a film that with its slightly dusty, scratchy appearance makes room for all the shots originally discarded for technical or narrative reasons. It fades to black and up again if visual material is lacking at any given moment, for example, while the continuity of the soundtrack is maintained. The establishing by the cameraman of a new frame or focus is not edited out for the sake of appearances. The painstaking repetitions from the rehearsal room are captured by showing several takes of the same detail from the dance one after the other. Read More »
Synopsis:
Portrait of the artist as a young man. In spring, 1965, Bob Dylan, 23, a pixyish troubador, spends three weeks in England. Pennebaker’s camera follows him from airport to hall, from hotel room to public house, from conversation to concert. Joan Baez and Donovan, among others, are on hand. It’s the period when Dylan is shifting from acoustic to electric, a transition that not all fans, including Baez, applaud. From the opening sequence of Dylan holding up words to the soundtrack’s “Subterranean Homesick Blues,” Dylan is playful and enigmatic.Read More »