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The Ox

"That's how it is, and it's fine," says the main character in Jozef Cyrus' documentary - a lonely, ageing farmer who endures daily inconveniences without complaint and runs a traditional rural farm. "(...) The field cannot stand, you have to work all the time," he explains. The camera accompanies the efforts of the protagonist, who - although the 1970s are coming to an end - does not have any agricultural machinery at his disposal and works like 19th century peasants. His only helper and faithful companion is the eponymous ox. Gradually, in successive shots, we learn about the protagonist's world view. This is the testimony of a man from a different era, who refuses even to sleep on a mattress because he was 'born on straw and will live on straw'. The successive parts of the film, including the scythe, the yoke, the birthday, the hayride and the autumn, are the elements that give rhythm to the main character's life.

The Ox

2.0 1977
Chile: Order Work Obedience

Swiss television documentary on the first years of the dictatorship, filmed (in color) in 1977 by a team led by director André Gazut and journalist Claude Smadja. Strongly critical of authoritarianism and the failures of the economic model that was beginning to be adopted, the report shows different aspects of the ideological and technical implementation of the military government. From the purge in universities to the precariousness of the Minimum Employment Program, from the revenge of employers in the countryside to the lamentable composition of the constitutional commission, the show is full of conversations with personalities close to the regime (Jaime Guzmán, Maximilianio Errázuriz, Manuel Valdés, Ruy Barbosa, Arturo Fontaine Aldunate, among others) which is interspersed with testimonies from residents and farmers, victims of violence and poverty.

Chile: Order Work Obedience

10.0 1977
Chott el-Djerid (A Portrait in Light and Heat)

Driven by a quest to capture a landscape reduced to flatness and sky, Viola travels to Chott El-Djerid. The film opens with images of snowy prairies and winter scenes, mirrored by warm, vibrating desert vistas. Through powerful telephoto lenses, shimmering mirages and warped forms emerge under extreme heat and light. These visuals evoke a space where dream and waking reality merge. Viola’s journey transcends documentation, transforming viewing into a reflective exploration of the limits of perception.

Chott el-Djerid (A Portrait in Light and Heat)

6.3 1979
Behind the Curtain: Akis Panou

Akis Panou explains the connection between his songs and his need to capture moments, emotions, and experiences, while also discussing how he perceives lyrics. Interwoven are scenes of him playing the bouzouki and performing alongside Manolis Mitsias the songs *"O Trellos"* and *"Zoi Mou"*. The program also includes footage of Akis Panou crafting a bouzouki in his workshop. He explains how he got involved in instrument making, while also talking about his relationship with painting and copper engraving.

Behind the Curtain: Akis Panou

NR 1977
I Just Can't Go On

In Canadian-born John Cook’s restless documentary of an Austrian couple, I JUST CAN’T GO ON, the husband Petrus, channeling “Cassius Marcellus Clay,” takes up boxing to supplement the income from his day-job burnishing frames. His companion, the much older Gisi, works as a janitor. They are an odd couple, scavenging at the bottom of the Viennese social ladder. But there is nothing patronizing or exploitative in Cook’s treatment of the couple and their eccentricities as they try to make ends meet. In one of the film’s key aesthetic choices, Cook eschews synched sound in favor of a stream-of-consciousness soundtrack pitting Petrus and Gisi’s unfiltered remarks in relief against the harsh material world.

I Just Can't Go On

5.0 1973
Everything Everywhere Again Alive

In the early 1970s, Toronto filmmaker Keith Lock moved to Buck Lake, where members of the Toronto art scene were undertaking an experiment in communal living. Lock filmed the achievements and daily rituals of his fellow communards, his camera bearing witness as a community assembled and dispersed. The resulting film uses poetic strategies, including logograms and other graphic disruptions, to extend its themes of renewal and rebirth, and to mark the encounter between reason and imagination, the concrete and the abstract. A landmark work of Canadian underground cinema, a film diary with mystic and symbolic overtones.

Everything Everywhere Again Alive

8.0 1975
A Rite of Passage

This film, shot in 1952-53, documents the scarification ceremony called "marking" which was traditionally held for Ju/'hoan boys after they had killed their first large animal. Here, /Ti!kay, a boy of thirteen, shoots his first wildebeest with an arrow. /Ti!kay's father, Kan//a, and Crooked /Qui help the young hunter track, skin, and butcher the animal. After the meat is brought back to the village, a scarification ceremony takes place, symbolizing the importance of hunting and /Ti!kay's passage into social manhood. He is now considered an acceptable son-in-law by the parents of the girl to whom he has long been betrothed.

A Rite of Passage

NR 1972
To the Japs: South Korean A-Bomb Survivors Speak Out

In 1971, while the Japanese prime minister Sato Eisaku was visiting South Korea to attend a party for President Park Chung-hee, a group of eight South Korean hibakusha (atomic bomb survivors) took a direct petition to the Japanese embassy. The South Korean hibakusha were detained by South Korean authorities for the duration of the prime minister’s visit. This film follows the lives of these eight people. That same year, Son Chin-tu, a hibakusha who had entered Japan illegally and was being held at the Omura Detention Center, filed his so-called “Hibakusha Certificate Lawsuit,” demanding Japanese residency and medical treatment.

To the Japs: South Korean A-Bomb Survivors Speak Out

NR 1971
The Land is the Culture: A Case for BC Indian Land Claims

"A documentary film which looks at the issue of British Columbia Native land claims and how the aboriginals link their culture to the land, which has been stolen by the dominant white culture of North America. In the film, the argument is presented that the lands have been taken from the Natives without any clear treaty agreements and how attempts had been made to wipe out Native culture through the Residential School system. " Produced by the Union of BC Indian Chiefs in 1975.

The Land is the Culture: A Case for BC Indian Land Claims

8.0 1975
A Man Called "Bee"

One of the few ethnographic films in which the anthropologist appears as one of the subjects - a lively introduction to the nature of fieldwork. Napoleon Chagnon, who lived among the Yanomamo for 36 months over a period of eight years, is shown in various roles as "fieldworker": entering a village armed with arrows and adorned with feathers; sharing coffee with the shaman Dedeheiwa who recounts the myth of fire; dispensing eyedrops to a baby and accepting in turn a shaman's cure for his own illness; collecting voluminous genealogies; making tapes, maps, Polaroid photos; and attempting to analyze such patterns as Yąnomamö village fission, migration, and aggression.

A Man Called "Bee"

NR 1974