Three guys are living in a Dagestan aul, and all three are in love with the blue-eyed Serminaz. According to a mountaineers’ tradition, a young man seeking the hand and the heart of a beloved girl has to make her a present that she would remember for the rest of her life. The friends set out in search of the special gift…Read More »
The Third Man – Howard Hawks’ »The Big Sky«
Tag Gallagher’s 20-minutes fine video-essay from 2010 on Howard Hawks’ »The Big Sky«. It’s a slightly revised version of an essay which originally was made for the 2004-Kinowelt-DVD-edition of the movie. Its focus is character in Hawks’ movies. The essay mainly uses excerpts from »Big Sky«. There’s a voice-over by Gallagher and some additional clips from other films. No talking heads or studio settings, no additional documents inserted. Here’s a transcript (English) and detailed description (German) (based on the 2004-version) to give you an idea of what you may download.Read More »
About the movie
While shooting “Flying over blue field” we lived in Bir�tonas sanatorium hotel. I was watching treatment procedures. People were plunging into bubble, mud and mineral water baths. They were going circles singing, were standing under cold water spouts. All this seemed like a sacred ritual, that frees from scurf of life. They were naked, like just born, without any signs of standing in society. Movie – silent impression about tired people “harbour”..(taken from his website www.stonys.lt)Read More »
Quote:
Set to the music of Bach and Penderecki, Sonata for Hitler weaves together a bank of images from German and Soviet archive footage, drawing out a psychological dimension from the historical landscape at the end of World War II.Read More »
Propaganda film detailing the plight of ethnic Germans, known as “Volga Germans”, in the Soviet province of Manchuria.Read More »
Impulse (1977)
An early experimental abstract animation, made by drawing directly on to 16mm filmRead More »
The movie focuses on the plight of ten war orphans hailing from different cities across Japan. With nowhere to go, they scavenge around train stations, scratching out an existence by means of black market work for a one-legged tramp whilst avoiding being picked up by the police for vagrancy. Soon however, they find a more inspiring role model in the figure of a nameless soldier just repatriated after the war. An orphan himself, the soldier also has no home to return to, and so sets out across the country with the kids in tow in search of work before settling on the goal of leading them to the orphanage where he himself grew up.Read More »
William Raban is one of the foremost British artists and experimental filmmakers of the last forty years, known primarily for his landscape, performance and multi-screen based films.
Born in Fakenham, Norfolk, in 1948, he went to St Martin’s School of Art in 1967, where he made paintings and prints that involved sustained but direct contact with natural surfaces, such as tree bark and waves. Raban then made a number of films utilising different facets of the filmmaking process to reveal hidden elements of landscapes. View (1970) alternated shooting speeds to give the landscape a rhythm, Colours of This Time (1972) used long exposures to alter the colour of sunlight, and Broadwalk (1972) used time-lapse to capture and freeze movement in Regent’s Park. River Yar (1972), made with Chris Welsby, was a more ambitious project and involved two screens (like Raban’s earlier Skyfilm (1970, made with John Barry). River Yar presents, in time-lapse, two views of the river at set points around the Autumn and Spring Equinoxes and alludes to the passage of the moon around the earth (the change in tides) and the passage of the earth around the sun (the light at different times of year).Read More »
Footage from Shylock’s monologue filmed by Orson Welles in connection with his unfinished film The Merchant of Venice.
According to the accompanying notes by Hervé Pichard, head of restoration at La Cinémathèque Francaise, the rushes were restored in 2025 by the film museum. The 4K work was carried out using a 16mm double-strip work print (Eastmancolor film, 1969) deposited in its collections by Welles’ longtime companion and collaborator Oja Kodar.Read More »