Silent

A king exacts vengeance upon his faithless mistress and her lover.Read More »

Set in an early cinema house, this comic short illustrates the problems with the gals’ hats obscuring the movie patron’s line of vision.Read More »

Plot: A greedy tycoon decides, on a whim, to corner the world market in wheat. This doubles the price of bread, forcing the grain’s producers into charity lines and further into poverty. The film continues to contrast the ironic differences between the lives of those who work to grow the wheat and the life of the man who dabbles in its sale for profit.Read More »

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“Les Hautes solitudes is a silent, black and white study primarily of three women – Nico, Tina Aumont and, especially, Jean Seberg – and the nature of performance (a man, Laurent Terzieff, also fleetingly appears). In a series of close up images of heart stopping beauty, the sort that bring to mind Jean Renoir’s claim that it was the power of the close-ups of actresses in the cinema of the ’20s that made him want to make films, Aumont and Seberg improvise psychodramas.” – Maximilian Le CainRead More »

Ivan Golovnev (filmmaker) was born in 1978 in Omsk, a city in Siberia. His father is a scholar of history, ethnography, and anthropology who teaches at universities around the world, including the United States. His mother is a history teacher. As a child, he took part in ethnographic and anthropological expeditions in North-Western Siberia. He graduated from music school with a degree in piano performance. In 2000, Golovnev graduated from the History Department of the Omsk State University, where he majored in Ethnography. In 2002, Golovnev entered a Graduate Program for Screenwriters and Directors in Moscow. He directed a documentary television series “The Time of Myths” about the traditional culture of two indigenous peoples of Russia’s North-West Siberia– the Khanty and Mansi. Ivan is currently working on a documentary on the lives of representatives of different denominations in Siberia.Read More »

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A drama based on a chapter of Lermontov’s novel “A Hero of Our Time”.

Pechorin serves in a remote fortress. One day in a neighbouring village he meets Bela, the daughter of a local prince, at a wedding. With the help of her brother Azamat, Pechorin takes the girl to the fortress. In return he gives Azamat a horse, which he steals from the highwayman Kazbich. Pechorin’s infatuation soon subsides, and he now spends more and more time hunting.Read More »

IMDB Review wrote:
Seven years before his first feature-length film “Jenny” ,Carné already displayed the populisme,the command of the picture and the brilliance which would mark his golden era (1936-1946) .With hindsight,it is pity that ,for lack of money,he could not make his final film ,”Mouche” from Guy de Maupassant , which would have taken place down by the Marne ,and which might perhaps have returned him to former glories.Read More »

Stuart Paton’s 20,000 Leagues Under the Sea (1916) is an epic retelling of Jules Verne’s classic novel, shot on location in the Bahaman Islands. Allen Holubar stars as the domineering Captain Nemo, who rescues the passengers of an American naval vessel after ramming them with his iron-clad, steampunk submarine, The Nautilus. Incorporating material from Verne’s Mysterious Island, the film also follows the adventures of a group of Civil War soldiers whose hot-air balloon crash lands on an exotic island, where they encounter the untamed “Child of Nature” (Jane Gail). Calling itself “The First Submarine Photoplay Ever Filmed,” the film is highlighted by stunning underwater photography (engineered by Ernest and George Williamson), including an underwater funeral and a deep sea diver’s battle with a giant cephalopod. In honor of the film’s extraordinary technical and artistic achievement, 20,000 Leagues Under the Sea was added to the National Film Registry by the Library of Congress.Read More »

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“The film Life in Hands (David Maryan, 1930, USSR) is an instructive historical case of the transition from the bright experiments of Sergei Eisenstein and Alexander Dovzhenko to agitprop as the focus of all the most odious in Soviet cinema. Prior to this work, Marian was a screenwriter for several films, which, as far as we know, have not survived, and this is his directorial debut, which borrows a lot from both the Earth (Alexander Dovzhenko, 1930, USSR) and the General Line (Sergei Eisenstein, 1928, USSR) – both thematically and in dramatic and visual solutions. “
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