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The Illustrated Hitchcock

Film director Hitchcock discusses his life and career in long talks with Pia Lindstrom (newscaster and daughter of Hitchcock star Ingrid Berman) and with film historian William Everson. Excerpts from several films illustrate these interviews. Discussion topics include: what is fear?, method acting vs. film acting, the difference between the usual "Who Done It" mystery and what he considers to be real suspense. His choice of leading ladies and why (Bergman, Baxter, Kelly, Marie Saint, Leigh, etc.).

The Illustrated Hitchcock

10.0 1972
The Nouba of the Women of Mount Chenoua

Writer and filmmaker Assia Djebar explores Algerian history, the psychological impact of war, and post-colonial female identity in this 1979 classic of film literature. Named for (and taking its structure from) a traditional song with five distinct movements, the film combines documentary-style observation with loose narrative form to tell the story of Lila, an Algerian expatriate returning to her country 15 years after independence has been won. In comparing her life with the lives and experiences of rural Algeriennes, Lila is able to put her childhood demons to rest and discover a new history -- one written in the ongoing strength of generations of women. Like much of Djebar's writing, the film has a strong subtext dealing with resistance to patriarchy and women's desire to appropriate the means of power and expression -- one of which, of course, is the filmmaker's camera.

The Nouba of the Women of Mount Chenoua

6.6 1978
Mao by Mao

A film-détournement biography of Mao Tse-tung in which the life of the recently deceased Great Helmsman is told in his own words, using quotes culled from various Red Guard publications. The rise to power of the film's namesake appears as the inevitable outcome of a dialectical logical. Or so the voice-over might lead one to believe. If the usual practice of détourned films is for the soundtrack to undermine the image, here the reverse occasionally takes place. The images critique Mao's words. They show that which, even in the official visual record of the times, the narrative elides. The film is dedicated to Li Yhi Zhe, the nominal author of a famous Democracy Wall critique of the Maoist state.

Mao by Mao

6.7 1977
Outlaw-Matsu Comes Home

“In Search of Unreturned Soldiers was about former soldiers of the Japanese army who chose not to return to Japan after the war. I found several of them who had remained in Thailand. Two years later, I invited one of them to make his first return visit to Japan and documented it in Outlaw-Matsu Returns Home. During the filming, my subject Fujita asked me to buy him a cleaver so that he could kill his ‘vicious brother.’ I was shocked, and asked him to wait a day so that I could plan how to film the scene. By the next morning, to my relief, Fujita had calmed down and changed his mind about killing his brother. But I couldn’t have had a sharper insight into the ethical questions provoked by this kind of documentary filmmaking.” —Shôhei Imamura

Outlaw-Matsu Comes Home

6.3 1973
Travail du comédien

We follow the rehearsals and the staging work of Bertold Brecht's play 'Dans la jungle des villes' in 1972 by the company Théâtre de l'Espérance. The three directors: Jean-Pierre Vincent, Jean Jourdheuil and André Engel discuss their joint work of staging and their vision of the play. Interviews with the actors (Gérard Desarthe, Maurice Bénichou, Hélène Vincent), whom we follow at different stages of the work (source: Média Scérén). The film was screened for the 1973 Directors' Fortnight, at the Cannes Festival.

Travail du comédien

NR 1974
Relation Work

Relation Work is a 1979 anthology film that compiles 14 seminal performance art pieces created by Marina Abramović and Ulay between 1976 and 1978. The compilation features the following 14 chronological performances: Relation in Space (1976) Talking about Similarity (1976) Breathing in, Breathing out (1977) Imponderabilia (1977) Expansion in Space (1977) Relation in Movement (1977) Relation in Time (1977) Light/Dark (1977) Balance Proof (1977) AAA-AAA (1978) Incision (1978) Kaiserschnitt (1978) Charged Space (1978) Three (1978)

Relation Work

NR 1979
Give My Poor Heart Ease

In his warm snapshot of the Mississippi Delta, folklorist and filmmaker William Ferris sits down with music legend B.B. King and other denizens of the deep south to talk about the blues. Interviewing local musicians ranging from inmates at Parchman Prison to a virtuoso guitar-playing barber, Ferris finds the genre cannot be pinned down to a single definition or origin. The blues permeates the territory as an infectious feeling, heard in musical notes thrummed from impromptu instruments like broomsticks and axes, in addition to guitars.

Give My Poor Heart Ease

6.5 1975
People of the Seal, Part 2: Eskimo Winter

The second of two coproductions by the British Broadcasting Corporation and the National Film Board of Canada, People of the Seal, Part 2: Eskimo Winter is compiled from some of the most vivid footage ever filmed of the life of the Netsilik Inuit in the Pelly Bay region of the Canadian Arctic. Together, the two films provide insight and understanding of a culture now almost vanished, as they show the incredible resourcefulness of the Netsilik (People of the Seal) who have adapted to one of the world's harshest environments. Part 2: Eskimo Winter shows how Inuit families gather in communities on the sea ice to harpoon seal as they come up through breating holes in the ice. Also seen is the mid-winter season, a time of intense socializing in the communal igloo, with games, contests and ceremonial activities.

People of the Seal, Part 2: Eskimo Winter

6.7 1971
Don't Be Like Brenda

The brutally entitled Don't Be Like Brenda (1973) is an eight-minute lecture to young women, telling them not to be sexually promiscuous like the film's hapless heroine – although heaven knows, the promiscuity hinted at here is tragically modest. Poor Brenda goes all the way with a boy who does not marry her. The film is stunningly without any useful educational content on contraception and makes it entirely clear that the woman, not the man, is to blame. The film even makes her poor unwanted child suffer from a heart defect, so that no one wants to adopt the poor little thing – just to hammer the point home. (from: http://www.theguardian.com/film/filmblog/2009/feb/11/sex-education-films)

Don't Be Like Brenda

3.2 1973
Grateful Dead: The Closing of Winterland

The Closing Of Winterland documents the Grateful Dead's landmark New Year's Eve 1978 concert that marked the end of the famed San Francisco Bay Area venue Winterland Aena. The Dead celebrated the closing as an approximately five-hour-long party (complete with breakfast with the audience at dawn) and invited some guests including guitarist John Cipollina of Quicksilver Messenger Service and Ken Kesey as well as actor Dan Aykroyd who provided the midnight countdown.

Grateful Dead: The Closing of Winterland

NR 1978
The Vampire of the Cinematheque

As filmmaker Jairo Ferreira shoots his life and friends in Super 8mm he also becomes the vampire of the Cinemateca Brasileira in São Paulo. In O VAMPIRO DA CINEMATECA Ferreira develops a poetic representation of his idea of “inventive cinema” without a plot in the classical sense. Ferreira mixes situations of everyday life in the streets of São Paulo with scenes from classics of film history, which he filmed from television or from a projection with his Super 8 camera. The author as a vampire sucks from various sources – not only in cinema, but also in poetry and music – and creates a portrait of his time.

The Vampire of the Cinematheque

7.0 1976
Ekstase - Der Prozeß gegen die Satansmädchen

Mondo Cane and the Schoolgirl Report series stand as obvious influences on this occasionally amusing but generally rather tedious exploitation film that alternates between documentary, fake documentary and docudrama. The theme is Satanism and the linking thread is a recreation of what is supposedly the real-life case of a murder and attempted murder of two Munich teenage men by a quartet of girls who had been dabbling in devil worship. During the ensuing trial, the lawyer resorts to dilatory tactics while the hearing is frequently interrupted by the girls breaking into incantation, temper tantrums or shivery fits ostensibly bearing on demonic possession. When the subject of the Manson killings is brought up, the most obnoxious of the defendants breaks in indignantly, claiming that Sharon Tate’s “execution” was justified as she posed dangers to the Satanic community.

Ekstase - Der Prozeß gegen die Satansmädchen

5.0 1979
Lebanon in a Whirlwind

A few months after the incident of April 13, 1975, during which Palestinian civilians were machine-gunned by Phalangist militiamen, the toll is most tragic: six thousand dead, twenty thousand wounded, incessant kidnappings, a semi-destroyed capital. This film traces the origins of the Lebanese conflict, the perception of a society that goes to war while singing. A unique document on the Lebanese civil war. Beyond the religious war, the painting of a social and political reality that has not changed much, more than four decades later.

Lebanon in a Whirlwind

6.0 1975
Spectator

Spectator is one of the early masterpieces by Zwartjes. The film explicitly shows one of Frans Zwartjes’ main themes: the relationship between husband and wife. It is a relationship that is strongly marked by power and domination, sexual attraction and repulsion. It manifests itself in humiliation and abuse (such Pentimento), but also in cool eroticism or natural physicality. Zwartjes’ goal is not to explain or designate this relationship. Rather it is the subject that Zwartjes uses to describe his world. In an article on Zwartjes, filmmaker and student George Schouten compares Zwartjes to the Italian writer Alberto Moravia. For both, sex is their way of dealing with reality. It is the subject by which they define their world. And for Zwartjes, it is also the subject with which he can display and develop his cinematic talent. (eyefilm.nl)

Spectator

6.0 1970
Manimals

A highly unusual look into the world of exotic pets and their owners in a large city. It is a film of love, comedy, ego and tragedy. The film begins on a humorous note, as the viewer is swept along, enjoying the fun of seeing and listening to people who keep monkeys, ocelots, lion cubs, possums, tarantulas, and every kind of exotic pet imaginable. Along with the careful, concerned people we meet, we also see some who are not quite so responsible. We witness the effects of some of the owners' neglect and lack of sensitivity to the needs of these animals from the wild. Some owners also describe their pets as exhibiting almost human traits, but is it good for animals to lose their own traits and characteristics, and acquire those of human beings?

Manimals

8.0 1978