How can places where fights for freedom have taken place, like here, reflect on history? One function of cinema is to ponder this relationship by filming the landscape as a sensitive surface where we try to bring out, with the necessary tools for image and sound, a certain figure of the past. It reveals itself by merging with the present in a loud echo that restores its full political dimension. With an artist (Grünewald) who was engaged in the Peasants' War (1525).
How can places where fights for freedom have taken place, like here, reflect on history? One function of cinema is to ponder this relationship by filming the landscape as a sensitive surface where we try to bring out, with the necessary tools for image and sound, a certain figure of the past. It reveals itself by merging with the present in a loud echo that restores its full political dimension. With an artist (Grünewald) who was engaged in the Peasants' War (1525).
A photographer takes up newsreel shooting to impress a secretary.
In the midst of a volatile regime change in a Francophone African state, Maria Vial is fighting to sustain her family’s coffee plantation. With rebels and the army struggling for control, French peacekeeping forces move out, warning the remaining white residents that they’re on their own. But Maria refuses to be driven off the land, even as tragedy looms.
In 1967, during the making of “La Chinoise,” film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.
Director Jean-Luc Godard reflects in this movie about his place in film history, the interaction of film industry and film as art, as well as the act of creating art.
Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.
David Carr is a British Communist who is unemployed. In 1936, when the Spanish Civil War begins, he decides to fight for the Republican side, a coalition of liberals, communists and anarchists, so he joins the POUM militia and witnesses firsthand the betrayal of the Spanish revolution by Stalin's followers and Moscow's orders.
In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
Miracle at St. Anna chronicles the story of four American soldiers who are members of the all-black 92nd "Buffalo Soldier" Division stationed in Tuscany, Italy during World War II.
An account of the life and work of legendary Japanese actor Toshirō Mifune (1920-97), the most prominent actor of the Golden Age of Japanese cinema.
Set in South Carolina in 1964, this is the tale of Lily Owens a 14 year-old girl who is haunted by the memory of her late mother. To escape her lonely life and troubled relationship with her father, Lily flees with Rosaleen, her caregiver and only friend, to a South Carolina town that holds the secret to her mother's past.