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The Infinite Journey

"This film traces the history of mankind's aspirations to reach the moon, giving credit to the many levels of scientific genius that made the Apollo 11 flight and moonwalks possible. The program documents the Apollo 11 mission, as well as earlier flights, post-flight appearances by astronauts in various countries, and the reactions of people throughout the world as they watched or read about the historic achievement" (US National Archives). The version that the National Archives currently holds is a shortened 60-minute cut, with the original being 92 minutes.

The Infinite Journey

NR 1970
1 P.M.

Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.

1 P.M.

6.2 1971
Brother on the Run

A black exploitation flick of the early 70's about a college/high school teacher who tries to intervene and rescue his student who is being pursued by the law. The professor happens to have sexual intercourse with at least 2 different women on his way to save his student. I've gotta love the title music track fr this movie, very 70's... "Brother on the run...etcetcetc. If you see t in the $3.00 video bin at your local video outlet pick it up for your own little amusement. It's not a must see, it's more like a "gotta see it to believe it" (in ways). Hehe.. the editor for this film should have been canned, (a hint) lay off the qualudes.

Brother on the Run

4.0 1973
Fillmore

Legendary rock impresario Bill Graham closed the Fillmore West in early summer 1971 with five nights of all-star concerts, the last curtain going down on July 4. The storied San Francisco venue had become an institution, an integral part of the West Coast music scene of the '60s and, now, an essential element of the mythology of rock 'n' roll. Always the showman, Graham made sure the Fillmore West was sent off in a blaze of glory, spotlighting bands - including the Grateful Dead and Santana-that rose to fame at the hall. The madness leading up to the shows and the concerts themselves were filmed for FILLMORE: THE LAST DAYS, a gritty, behind-the-scenes look at a fascinating moment in rock history and a showcase for great performances by iconic artists who epitomized 'the San Francisco Sound.' Originally released in 1972 and long out-of-print, the documentary film makes its DVD debut with Rhino's landmark reissue.

Fillmore

7.0 1972
Breathing In/Breathing Out

For this performance the two artists blocked their nostrils with cigarette filters and pressed their mouths together, so that one couldn’t inhale anything else but the exhalation of the other. As the carbon dioxide filled their lungs, they began to sweat, move vehemently and wear themselves out; the viewers could sense their agony through the projected sound of breathing, which was augmented via microphones attached to their chests. It took them 19 minutes in the first performance and 15 in the second to consume all the oxygen in that one breath and reach the verge of passing out.

Breathing In/Breathing Out

NR 1977
The Fifth Facade: The Making of the Sydney Opera House

On 20 October 1973, the Sydney Opera House was officially opened by Queen Elizabeth II. From conception to completion, it had taken more than 15 years and over $100 million dollars. In the years since its completion, the Sydney Opera House has become one of the most identifiable of Australia’s icons - ranking with the Sydney Harbour Bridge, Uluru, the koala and kangaroo - and is considered by many to be among the world's great architectural masterpieces.

The Fifth Facade: The Making of the Sydney Opera House

NR 1973
The Tapestry

A television drama directed by Maya Angelou. In 1975, the accomplished writer became the first African American woman to join the Directors Guild of America in the director’s category. Produced by trailblazing TV executive Barbara Schultz, Visions often focused on complex themes including social justice, feminism, race and sexuality. Executive Producer: Barbara Schultz. Director: Maya Angelou. Writer: Alexis DeVeaux. With: Gloria Jones Schultz, Glynn Turman, Ebony Wright.

The Tapestry

6.0 1976
Gal Young 'Un

Mattie, a widow living in the backwoods of Florida during Prohibition, meets Trax, a charming man much younger that herself. Trax is a womanizing, lying bootlegger who needs money and he sets his sights on Mattie who can support him. After energetically courting her, Mattie marries Trax, who before long brings home a young woman to be their housekeeper, but it is obvious that she is to be his mistress. When Trax leaves on business, the two women each contemplate how they are being exploited and Mattie comes up with a plan of her own.

Gal Young 'Un

4.8 1979
Associations

'Associations' sets language against itself by using the ambiguities inherent in the English language. Images from magazines and color supplements accompany a voice-over reading from the book 'Word Associations and Linguistic Theory' by academic linguistic Herbert H. Clark. Combining a wry sense of humor with word/visual games and puns, Smith explores the boundaries of cinematic montage by combining elements together and against each other in order to destroy and create multiple meanings at the same time.

Associations

6.7 1975
Break Out!

A self-criticism, self-analysis in which Macdonald struggles with his own status as a self-declared “armchair radical.” Wondering what real effect making films and attending demonstrations can have, he wrestles with the idea of violence and examines his own excuses (protecting his family, protecting his life) for not “being radical as opposed to talking radical.” In a section that introduces the letter board and bricolage technique that would become so prominent in his filmography, he lays out a radical 12-point program for the attainment of a more decent society; a coda proposes a halfway point between armchair radicalism and bomb-throwing.

Break Out!

NR 1970
Ali Soorchi

Rana (Puri Banai) and her father (Ezzatullah Voshoq) meet Ali Surchi (Mohammad Ali Bandani). Jabbar (Gholamreza Sarkoob) is in love with Rana, but Rana marries Ali without her father's knowledge. Ali is taken out of town by Jabbar's friend (Jamshid Narsi) and Farangis (Farangis Forouhar) and is stabbed to death by Jabbar. When Rana's father finds out that his daughter is pregnant, he dies of a fit of rage. Rana pawns her father's inherited house to a broker (Mohsen Arasteh) and keeps Ali's car as a keepsake, And with the help of Sadeq (Seyed Ali Miri), she raises her son Ali (Mohammad Reza Fazeli). Years later, Jabbar spreads rumors that Ali is an illegitimate child; but Farangis reveals the matter of Ali's murder to her son. Farangis is killed by Jabbar, and after Ali kills Jabbar and his friend, he kidnaps his daughter Leila (Nazanin). Ali's mother chases them, and Ali falls under the wheels of a cart and is finally arrested by the police.

Ali Soorchi

NR 1972