Documentary

Incest: A Family Tragedy
The interview with the director, Edward Blackoff.

HISTORY: Director’s Narrative:
Barraged with a daily onslaught of media alarm over a growing army of child sexual molesters who were raping, kidnapping, and murdering children, I decided to do something to help prevent these attacks on our kids. I began with the premise that if I could find several pedophiles who would agree to be interviewed on camera and show their faces, these same molesters could be the key to teach parents how to better protect their children from these same predators.

I ran into dead end after dead end in my search to find “hero” rapists but what I began to learn was that my premise insofar as child molestation was quantitatively misguided.
The main origin of child abuse was not some stranger but was actually family members and trusted family friends.Read More »

Quote:
D’après La Question paysanne en France et en Allemagne et une lettre à karl Kautsky de Friedrich Engels et de La lutte des classes en Egyptes de 1945 à 1968 de Mahmoud Hussein.

Film en deux parties dont la première est consacrée à la France, la seconde à l’Egypte. Sur les images de la campagne bretonne est lu un texte de Hengels décrivant la misère des paysans en 1789. Pour l’Egypte, c’est un texte de l’historien Mahmoud Hussein sur la lutte des classes dans ce pays depuis Bonaparte jusqu’au règne de Sadate.Read More »

A documentary on fetish website Kink.com.Read More »

Quote:
The film accompanies Magaye Niyang, a star of Touki-Bouki, a 1972 classic directed by her own uncle Djibril Diop. Following this path, we are witness of Niyang travel to a special screening of the film, which has a public release in his old town. Niyang seems detached and with a heavy longing from the past, and therefore, the film debris permeates everything with unescapable sorrow and fascination.

Diop film is, first and foremost, a nostalgic travel through memory, time and recreation. It is also a watermark in contemporary experimental documentary, a very intimate portrait of a lost long journey through the past that isn’t returning anymore, a detachment of rejected fame, recognition and connection which is heavily grounded on a legacy that belongs to the past, and that connects directly to a country (Senegal) and its heritage, which is sometimes feel excruciating for the old ones (a testimony such as the taxi scene in the film, where the cab driver longs for changes, and claims that the old generation had done nothing for that).Read More »

Obsession: Radical Islam’s War Against the West, also called Obsession, is a 2005 American documentary movie about Islamist teachings and goals that uses extensive Arab and Iranian television footage. It compares the threat of Islamism with that of Nazism before World War II. It is the sequel to the documentary Relentless:The Struggle for Peace in Israel.

Obsession examines the origins of contemporary radical Islam and traces it back to the alliance between Islamists and the Nazi Party during World War II, specifically the relationship of the Grand Mufti of Jerusalem with Adolf Hitler as an inspiration for radical Islamic movements in the Middle East today.Read More »

Plot Outline :
With Cocksucker Blues, Frank bids a final adieu to the utopia of the Beat generation. What did the Rolling Stones expect when they hired him to make a film about their 1972 North American tour? There are scenes of groupie sex in private jets, cocaine snorting, and even a masturbation scene in which Jagger reveals himself to be the cameraman in a reflected image.

But ultimately Frank focuses on the lonely spaces that permeate the rock and roll machine. This is the ultimate direct cinema. The camera movement infects the images with an unbelievable filmic energy, and Frank ignores all orientation guidelines. Populated by the living dead, Cocksucker Blues is a zombie film with no refuge.Read More »

Hervé Lewis is not only a mentor to many stars (Johnny Hallyday, Jean Reno, Emmanuelle Béart, and more), but also a professional photographer. After the success of many renowned advertising campaigns for Aubade Lingerie, Hervé Lewis’ first film, in which he rediscovers the lighting of his black and white photographs, is dedicated to the beauty of women. His pure and poetic images convey an uncommon sensuality, power and intensity. Through Hervé Lewis’ lens, every woman becomes a star.Read More »

The film critic Tatti Sanguineti arrives in Palermo to find out what has happened to Franco Maresco’s unfinished movie: Belluscone. Una storia siciliana. A film that was supposed to tell the story of the unique relationship between Berlusconi and Sicily through the misadventures of the Palermitan impresario of Neapolitan “neomelodic” singers and organizer of street festivals, Ciccio Mira—an undaunted supporter of Berlusconi, nostalgic for the old days’ Mafia— and two artists in his stable, Erik and Vittorio Ricciardi, who perform in the squares of Palermo a song entitled “Vorrei conoscere Berlusconi” (“I Want to Meet Berlusconi”). The film focuses on three failures: the political and human one of a Berlusconi now on the wane; that of the unfortunate and “slapdash” Ciccio Mira, rooted in an old but tenacious culture; and finally, the artistic one of the director, who chooses to disappear after realizing that tilting at political windmills is pointless, in a country that has long identified with Berlusconian “culture” and probably continues to do so.
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A witty and controversial documentary from Zentropa, which won the SUNDANCE World Cinema Jury Prize in 2010.

Quote:
A journalist with no scruples and two Danish/Korean comedians—one a self-proclaimed “spastic”—travel to North Korea under the guise of a cultural exchange. On the pretext of being a small Danish theatre group, named The Red Chapel, they are allowed into the country, but unbeknownst to the North Koreans, cultural exchange is not really what they have in mind. Mads Brügger, the journalist; Simon, the straight man; and Jacob, the spastic, use humor to challenge one of the world’s most notorious regimes. The troupe rehearse under the watchful eye of government officials brought in to “collaborate” on their performance and make it more palatable for the Korean regime. They are shown the important historical sights by a female government employee, who smothers poor Jacob with motherly affection.Read More »