Documentary

Description:
A documentary focused on the modern-day village of Innisfree, the location used by legendary director John Ford for his Irish romance The Quiet Man.

Innisfree (from the Gaelic Inis Fraoich, the heather island) is the name of a tiny island in Lough Gill, to the south ­east of Sligo town, which was immortalised by Yeats in one of his best ­ known poems, ” The Lake lsle of Innisfree ” (The Rose, 1893). Written at a time when the poet lived in London with his family, and “felt very homesick” (Kirby, 1977: 46), “The Lake Isle of Innisfree” expresses a nostalgic longing for a simple country life apart from the stresses of urban life that places it within a pastoral tradition.Read More »

Filmmaker Jose Luis Guerin documents his experience during a year of traveling as a guest of film festivals to present his previous film. What emerges is a wonderfully humane and sincere portrayal of the people that he meets when he goes off the beaten track in some of the world’s major cities. (IMDB Plot Summary)Read More »

A very personal film by Martin Scorsese about the role of films Elia Kazan for the American cinema and for him personally.
Additionally, attending twenty-minute interviews with the actors who starred in Kazan’s movies, and his wife.Read More »

Seventh film of the retrospective, El Sueno Del Pongo(1970).Read More »

Description: This is not Eisenstein’s film, but a series of montage lessons by V. Chubisov using Eisenstein’s films for examples…

levchin specifies

Quote:
that the filmmaker is Vadim CHUBASOV, not Chubisov, who taught at the Kiev Theater/TV/Film Institute for many years, and died recently. Moreover, the title of this film is Lessons in Editing, not A Montage Lesson.
No one seems to know when it was made. Judging by the video style it must be the ’80s. Clearly this is an instructional film, commissioned and produced by the Karpenko-Kary film school in Kiev.

Credits, Production and Release Information
Director, Scenario: Vadim Chubasov
Comissioned and produced by: Karpenko-Kary film school (Kiev)Read More »

A documentary was made during the production process of Bright Future, called Aimai Na Mirai (Ambivalent Future). It was released in theaters in Japan and it’s available on the Japanese DVD release of Bright Future. The documentary was not so much a making-of as an interpretation of your work, with Bright Future functioning as a case study. What did you think when you saw it?

I didn’t watch it so attentively, because I felt a bit embarrassed about watching myself. I kept thinking “What a liar this director is!” (laughs). And I understood the difference between documentary filmmakers and fiction filmmakers. Documentarists shoot elements of reality, and after that in post-production they try to turn it into a lie as much as possible. Directors like me who make fiction – and I’ve never made a documentary – we deal with fictional elements such as the script, but after that we try to make them as close to reality as possible, and try not to lie as much possible. It’s the complete opposite.

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Quote:
Zwei ungewöhnliche Frauen der Pariser Kulturszene lassen sich vom kanadischen Filmemacher Bruce LaBruce durch die nächtliche französische Metropole begleiten. Wenn es in Frankreich um aufsehenerregende Frauen in Literatur und Film geht, dann fallen schnell die Namen Béatrice Dalle – exzentrische Schauspielerin und Femme fatale des französischen Kinos (“Betty Blue – 37,2 Grad am Morgen”, “Trouble Every Day”) und Virginie Despentes – Star der feministischen Literatur in Frankreich und Regisseurin der Verfilmungen ihrer eigenen Bücher (“Baise-moi/Fick mich!” und “Bye Bye Blondie”). Die beiden Ausnahmekünstlerinnen streifen durch das winterliche Paris und führen sich gegenseitig an die Orte ihrer Inspiration. Nach einem Besuch in dem ehrwürdigen Gotteshaus Eglise Sainte Rita, das sich den “verlorenen Seelen” verschrieben hat, steht eine Musik-Performance mit bizarren Tiermasken in der Galerie Paul Toupet auf dem Programm. Bei der Visite eines DVD-Geschäfts mit echten Raritäten fachsimpeln die beiden Frauen über die besten Filme aller Zeiten und lästern über einige Kollegen.

Two legal crusaders from Kumba, Cameroon, determined to see that justice is served and make a difference from within the system, are the focus of this documentary from filmmakers Kim Longinotto and Florence Ayisi. Vera Ngassa is a prosecutor unafraid to take on unpopular causes, and Beatrice Ntuba is a judge who doesn’t hide her outrage when a case rubs her the wrong way. Unlike many legal workers, Ngassa and Ntuba vow to actively include themselves in the lives of those who seek justice. From the caring consideration shown to a young girl who has obviously suffered abuse at the hands of her parents to the noble support shown to a battered Muslim woman brave enough to take her husband to court for spousal abuse, the support shown by Ntuba and Ngassa to their clients is unparalleled, and offers a ray of hope to those who may feel that all is lost.Read More »

From VILLAGE VOICE:
A shuddering, flickering tribute to two lost compatriots, Ken Jacobs’s Two Wrenching Departures took its original form in 1989 as one of Jacobs’s live “Nervous System” cine-improvisations on dual 16mm projectors. Earlier that year, his former collaborators Bob Fleischner and Jack Smith died within a week of one another—an ironic conjunction, as the pair had been at odds for years, long after Jacobs, Fleischner, and Smith had chaotically joined talents in the late ’50s to create Blonde Cobra, a grimly glamorous rummage through trash-pile transvestism that was one of the most celebrated titles of the pre-Warhol underground scene.Read More »