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Les Mains Libres

In 1964, Algeria, just two years after the end of the war of independence, found itself catapulted into new contradictions, a still rural territory which responded to the modernity brought by the revolution. Filmed during the winter of 1964-1965 by the young director Ennio Lorenzini, it is the first international Algerian production which paints a rare portrait in color of a multifaceted nation, far from the simplistic vision created by the press and the French army. Produced by Casbah Film, Les Mains Libres (initially titled Tronc De Figuier) bears witness to the stigmata of colonization and the future of free Algeria throughout the Algerian territory and reveals the richness of its landscapes and the diversity of its traditions . The documentary, using the aesthetics of militant cinema of the time, is made up of four scenes: Sea and Desert, The Struggle, The Earth, Freedom.

Les Mains Libres

10.0 1965
Oslofilm: Oslo

An experimental and poetic portrayal of Oslo. // Oslofilm was a series of public information films about life in and around Oslo, produced between 1940 and 1980. Funded by the state, the films offer valuable insight into postwar Norwegian society. A wide range of Norwegian filmmakers contributed to the productions, resulting in a rich variety of styles and expressions. Several of the films also possess notable cinematic qualities, standing out as more than just informational material. The Oslofilms represent a unique and important chapter in Norwegian film history.

Oslofilm: Oslo

NR 1964
Divine Love

The film begins at night, as parishioners holding lanterns form a series of processions, travelling through the night from Rome, and villages in the Abruzzi and Lazio regions, to make it to the Santuario della Madonna del Divino Amore, 10 miles from the capital, by morning. More than an anthropological study of ecstatic devotion – with its genuflecting disciples, and women who scream desperately at the sky – Divino Amore also speaks to Mangini’s interest in disappearing rituals and communities at risk of extinction. When generations of worshippers pour out of the church at the end of the service, formality dissolves into secular leisure, as families perched on horse carts eat plates of spaghetti and men fall asleep on the grass. The velvet-clad austerity of the church’s interior gives way to a series of pastoral tableaux.

Divine Love

5.5 1963
The Polo Grounds: Requiem for an Arena

Documentary about the history and imminent demise of the Polo Grounds ballpark in New York. Hosted and narrated by actor Horace McMahon, it was filmed during the winter of 1964 at the now abandoned stadium. The film looked back at its history from its opening in the 19th century, to its glory years as the home of the New York Giants baseball team and its final two years as the home of the amazing (and not in good way) New York Mets - as well as other famous events that took place there, such as football contests and boxing matches.

The Polo Grounds: Requiem for an Arena

NR 1964
Newspapers, Newspapers

The life of newspapers begins with their release from the press and their arrival in the hands of buyers – readers, regular consumers of political, entertainment, and even sports columns. Pensioners read newspapers with their first morning coffee, people rushing to work read them on buses. Everyone reads their own newspaper, and some, sneaking in, someone else's. The newspaper is a constant companion at every moment, on vacation, in hairdressers, while babysitting and walking small children in the park...

Newspapers, Newspapers

NR 1965
3 American LPs

Another short was 3 American LPs, which was the first film I did with Peter Handke. It was a film about American music, about three pieces of three LPs. There was a song by Van Morrison, another by Harvey Mandel, and one of Credence Clearwater Revival. It was mainly the music and some shots out of a car, landscapes out of the car window. And it had a little bit of commentary – dialogue between Peter and me about American music and about how American rock music was about emotion and images instead of sounds. That is to say, about a kind of phenomenon, that it was in a way a kind of film music, but without a moving picture. It was a 12-minute film and it was never shown. – Wim Wenders

3 American LPs

5.3 1969
Multiple Man

A many-faced view of humanity, of global man in all his forms and interests. Produced originally in 70 mm (with stereophonic sound) for showing at Man and His World, the Montréal fair that succeeded Expo 67, this film employs the multi-image technique. People of all places, origins, cultures, secular and religious, are here united and seen side by side, creating an impressive, inspiring and challenging portrait. The film's title appears in seven languages. Film without words.

Multiple Man

10.0 1969
Lebbaeus Whose Surname Was Thaddaeus

Lbyvs named Thaddeus (in English : Lebbaeus Whose Was Surname Thaddaeus ) documentary black and white, 35 mm and 33 minutes to the Armenian product in 1347, directed by Arby ovanessian is. This documentary was filmed by Solomon Minasian . The subject of this documentary is the ceremony of the pilgrimage of the Church in the city ​​of Maku ; it shows some parts of the Armenian customs and traditions from the baptism to the ritual ceremony , along with the happy ceremonies of the Armenians and their way of life.

Lebbaeus Whose Surname Was Thaddaeus

NR 1967
Reflection

A leading director of the Czech film renaissance provides a philosophical meditation on life and death, set amidst complex hospital apparatus and the sadness, hope, or resignation of the patients. Existentialist rather than optimist, the approach is one of humanistic atheism, accepting death as part of life. Interviews with doctors and nurses explore their outlook; all speak of death as a fact, without either sentimentality or religiosity. The studied objectivity of the film only imperfectly hides an intense emotionality.

Reflection

5.8 1966
Evolution

Although the video artwork Evolution cites the well-known image of hominid evolution, it is more interested in the evolution of the media than in the evolution of the human species. Through the feedback of a system of video devices and the search for image imitation, it creates a layered (self-)reflection of the media used. It illustrates the gradual peeling back of artistic and technical possibilities in sound, from which an image is generated by directly manipulating the surface of the filmstrip, and in images that generate sound in video feedback.

Evolution

NR 1969