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We Who Have Friends

A pioneering documentary in 1969, looking at the situation of gay men in the UK two years after the 1967 Reform Act, and revealing how attitudes have changed. It includes unique interviews with the Bill's initiator, Leo Abse; Peter Manolt, the Editor of the bi-sexual/gay magazine 'Jeremy'; social workers who regard 'gayness' as something to be 'cured'; the only gay man found willing to appear on camera at that time, and members of the public on the streets of London and Leeds.

We Who Have Friends

NR 1969
Szczesliwice

Szczesliwice, despite its cheerful name, is a place visited by few people. The central dumping site in Ochota has already become an urban legend. The narrator provides us with statistical data, he also, in a literary way, develops the legend of treasures and treasure hunters. The rubble from Warsaw, ruined by the war, was taken to Szczesliwice, including any lost valuables. The protagonists, junk collectors, talk about the things they find there. The landscape of the dump is shrouded in fog, it looks like a post-apocalyptic desert in the city. There are people wandering around it who seem hypnotized by the vision of fortune. Today, after land reclamation, Szczesliwicki Park and its facilities are located there.

Szczesliwice

NR 1960
Who Is to Blame?

Like Márta Mészáros, Florica Holban experienced losing her parents and institutionalization first-hand as a young child, which later triggered her long-term interest in the lives of the children growing up in state care. Holban’s Who Is to Blame? has something else in common with Mészáros’s Let All the Children Smile: they both include sequences filmed at the same orphanage in Bucharest (Orphanage No. 6)—Mészáros in the mid-50s, Holban a decade later. The two films also share a certain discretion regarding the role of the State, which assumed parental responsibility for children abandoned or separated from their parents. Here, both directors allow, albeit only briefly, the lonely and deprived children to appear as individuals with their own histories and traumas. Unlike Mészáros, however, Holban approaches her topic through a judicial lens: numerous sequences from her film were shot at the Tribunal, and the film credits a prosecutor as a consultant.

Who Is to Blame?

NR 1965
The Most Holy Brotherhood

The High Holy Brothers is a documentary on a mysterious Messianic cult formed by peasants who fled the violence of the forties/fifties in Colombia and are admitted to live in the mountains of southern Tolima. Its members dress in sacks, they have their own dialect and regard everything as “Blessed”, minus the right side of the body, which castrated covering it with the “holy coat”. This group rejects all elements of the consumer society, established institutions, the state, church and political parties.

The Most Holy Brotherhood

7.0 1969