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The Resolution

Shot in 1972, this remarkable documentary was released ten years later and had its first Western film festival screenings last year. "Gyula Gazdag is an outstanding Hungarian talent who seems to specialize in getting into trouble. This film, which he made with Judit Ember, another alert and sensitive director, was banned for ten years. In it, a rural community is in financial trouble and an expert from Budapest is sent to advise and reorganize. He is successful but his manner angers the local committee. Despite their own management failure, they feel his arrogance should be the subject of a reprimand at least. The story is more than just true: so sure was the community of its cause that Gazdag and Ember were invited to film the actual debate, and the reality makes us protagonists in the case. It is a situation that could happen anywhere but seldom has such a subject been treated in so absorbing and striking a way.

The Resolution

10.0 1972
Pyramid Lake Is Dying

The second of John Pilger’s three 1976 documentaries made in the United States. In Pyramid Lake Is Dying, he reports on the demise in the culture of native Americans and the stealing of their resources. Pyramid Lake, in Nevada, home to the Paiute peoples and once described as “one of the few remaining unspoiled natural wonders in the American West”, is drying up and its fisheries and wildlife disappearing due to changes to the local ecology made by white settlers. In addition to their natural resources, the Paiute peoples' culture and lifestyle are also under threat.

Pyramid Lake Is Dying

NR 1976
Ty-Peupe

The ideal of youth is at the centre of this eloquent film, mixing documentary and fiction, art and experimentation. Demonstrating both formal and narrative freedom, Bélanger weaves a deliberately loose weave in which the initiatory journey of two young people, wandering through Montreal in search of a job, unfolds. But not just any job. The two idealists want a job that will satisfy their desire for freedom, peace and respect. Of course, even though the breath of renewal from Expo 67 still floats here and there, the world they encounter does not correspond - by far - to their aspirations. Strangers in this country that tells them nothing, they come across brutally, materialism, violence, and egocentrism.

Ty-Peupe

7.2 1971
Future Shock

“Our modern technology has achieved a degree of sophistication beyond our wildest dreams. But this technology has exacted a pretty heavy price. We live in an age of anxiety, a time of stress. And with all our sophistication we are in fact, the victims of our own technological strength. We are the victims of shock … of future shock.” No, this isn’t a quote from a Huffington Post column on the Facebookization of modern communication. Nor is it pulled from an academic treatise on the phenomenologies of post-industrial existence. This statement was made by Orson Welles in the 1972 futurist documentary Future Shock, and, unlike some of the more dated elements of 1970s educational films, Future Shock remains shockingly current in verbalizing the concerns and anxieties that come along with rapid societal and technological change. (Indiana University Libraries Moving Image Archive)

Future Shock

4.7 1972
ViennaFilm 1896-1976

This film is a kind of anthology about Vienna, from the invention of film to the present day. The aim is to break down the usual clichéd "image of Vienna" such as that found in the traditional "Vienna Film" by juxtaposing documentary footage, newly shot material and subjective sequences created by various artists. Individual, self-contained sections of the film gain new meaning within the context of historical material. Familiar sites appear estranged when edited together with historical scenes. Other scenes appear like a persiflage or satirical. The film does not incorporate any commentary whatsoever. It is a collage of diverse materials aimed at conveying a distanced image of Vienna to the viewer

ViennaFilm 1896-1976

7.0 1977
Selection

SELECTION documents a KISZ (Hungarian Young Communist League) chapter at an oil refinery that is interested in hiring a musical act as entertainment for young workers. The documentary shows the group discussing their criteria for the band, as well as their interviews with the individual bands. It is quickly apparent that the group isn’t interested in any sort of musical talent or the potential audiences’ interest. Rather, they are focused on ideological or moral issues that may be perceived as negative, such as groupies or outfits that are seen as too trendy. They settle on the musical group that is potentially the easiest to control, the youngest band. SELECTION works as a larger metaphor for what censorship was like in Socialist Hungary and was banned from being publicly screened until 1982.

Selection

8.0 1970
Hotel Monterey

New York City's Monterey is a residence hotel, whose inhabitants are older and primarily live alone. The camera, usually stationery, observes the lobby. No score, the lobby is clean with granite floors, men wear hats, people enter and exit an elevator, the camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close.

Hotel Monterey

6.2 1973