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Britain Welcomes the President of Pakistan

The President had been due to visit twice before, but on both occasions the trip had to be cancelled. The first time was in 1963, the same year as the Commonwealth visit by the President of India. The second cancellation occurred in 1965 when a longstanding dispute between India and Pakistan over the sovereignty of Kashmir boiled over into full-scale war in September of that year. However, as one might expect from a film made for international diplomacy purposes no reference is made to ongoing political problems either at home or abroad. Like the Indian presidential visit of 1963, the film was for screening to domestic audiences (both in the UK and in Pakistan) whose main interest would be in the pomp and ceremony of the visit, and the reception and status afforded to the President by the Queen and royal family.

Britain Welcomes the President of Pakistan

NR 1966
FALN

This 1965 documentary portrait of a civil war is today a remarkable time capsule of Venezuelan political and social history, and valuable background to the ongoing social conflicts in that country. FALN chronicles key events of the era, from the 1958 overthrow of dictator Perez Jimenez, and the flawed attempts at social reform by Romulo Betancourt's government, to the 1962 emergence of the national liberation movement- the FALN. The FALN engaged in rural and urban guerrilla struggle throughout the Sixties, but, failing to achieve its desired coup d'etat or to gain the support of the nation's poor, the organization had largely dissipated by the end of the decade. A compilation documentary incorporating both archival footage and original scenes shot by members of the revolutionary movement, FALN draws parallels with American foreign policy in other countries, particularly Vietnam.

FALN

5.5 1965
Flowers on a One-Way Street

In the summer of 1967, a hippie group called The Diggers - led by the cool and charismatic 23-year old David DePoe - wanted to turn the street where they resided, Yorkville Avenue in Toronto, into a car-free zone. Fed up with the noise and fumes from cars, DePoe staged a 3-day sit in where the Diggers peacefully occupied the street to petition the Toronto City Council to get what they wanted. To their surprise, the police were ordered to remove them by force by the city officials who wanted to keep the street open as a necessary traffic artery. After being released from jail, DePoe and his group were invited by the fiercely conservative and patronizing Allan Lamport, a member of the Board of Control and former Mayor of the city to a meeting at City Hall to present their case. The climactic battle unfolded there between Lamport and DePoe, who was representing the Canadian Youth Council.

Flowers on a One-Way Street

7.0 1968
Dead well

Dead Well (Pozo muerto, 1967) is a Venezuelan documentary directed by Carlos Rebolledo and produced by the avant-garde collective El Techo de la Ballena. Through a series of testimonies from residents of the oil towns of Cabimas and Lagunillas, the film recounts the human cost of Venezuela’s oil industry. Tracing the country's petroleum history from the 1922 Barroso II oil well blowout to the late 1960s, it exposes the exploitation, poverty, and environmental devastation endured by communities along the eastern shore of Lake Maracaibo. Filmed in black-and-white on 35mm, the documentary is regarded as a landmark work of the New Latin American Cinema.

Dead well

7.0 1967
The Golden Ring

Watching the Vienna Philharmonic, Georg Solti, and a stellar cast record Wagner's immense Götterdämmerung for Decca in the fall of 1964 provides a thousand lessons in the art of working under pressure. For this classic documentary, The Golden Ring, a BBC camera crew eavesdropped as producer John Culshaw guided his engineering team through tricky technical maneuvers far removed from the relative ease of modern digital editing. What utter concentration and focus Birgit Nilsson, Wolfgang Windgassen, Gottlob Frick, and Dietrich Fischer-Dieskau bring to their collective and individual singing! Solti, for his part, oozes energy and exactitude as he pleads for greater precision and frets over details in the car en route to the sessions.

The Golden Ring

7.0 1965
The Conquest of Light

The film discusses the evolution and potential of using light waves, particularly coherent light, for communication. It highlights the development of lasers at Bell Telephone Laboratories, explaining how they produce a highly controlled and intense beam of light that could revolutionize communication. The film emphasizes the vast possibilities of lasers, including applications in telecommunications, surgery, and exploring the universe, suggesting that this technology represents a significant step in humanity's understanding and use of light.

The Conquest of Light

NR 1960
The March

The March, also known as The March to Washington, is a 1964 documentary film by James Blue about the 1963 civil rights March on Washington. It was made for the Motion Picture Service unit of the United States Information Agency for use outside the United States – the 1948 Smith-Mundt Act prevented USIA films from being shown domestically without a special act of Congress. In 1990 Congress authorized these films to be shown in the U.S. twelve years after their initial release. In 2008, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". (Wikipedia)

The March

7.0 1964
Stop for Bud

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

Stop for Bud

6.9 1963