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Scenes on Every Floor

The 1904–1905 Pathé short Un coup d’œil par étage (literally “A Glance on Each Floor”) is an inventive early comedy that presents a whimsical peek into life across multiple apartments in a single building. It plays with cinematic point-of-view and narrative structure in a way that was novel at the time. The film cuts between brief vignettes on each apartment floor: a man at a phone, a pillow fight between children, an elderly lady with a cat—and finally, a resident scrambling to extinguish curtains that have caught fire. Structured as a vertical tour ("par étage"), the short runs about 6 minutes in restored screenings and was featured in retrospectives on early cinem

Scenes on Every Floor

NR 1904
Spivs

Jack, Steve and Goat are East-End Spivs. They spend their time wheeling and dealing wherever and whenever they can. It's not until Jack and the others get involved with a guy called Villa, and they are landed with a big payday they have been waiting for, when they realise what a mess they are into. At the back of the lorry they have smuggled goods in, they find illegal immigrants. Most of them escape but they are left with 2 kids; a boy and a girl, and have to decide what to do with them... Are they going to look after them and feed them, clothe them, love them, etc. or are they going to leave them on the streets of East-End London?

Spivs

5.7 2004
The Merry Widow

Anne-Marie lives an easy life with Gilbert, a rich plastic surgeon: a beautiful house, a doggy, a cleaning lady, expensive furniture, the lot. Not so easy in fact when she thinks twice. She does not get on with her husband any longer. She gets on his nerves and he does not attract her any longer. She feels good only when she jogs on the beach and ... when she is the arms of her lover, Leo. One day, Gilbert gets killed in a car accident. Good news, since she will be able to live with Leo. The trouble is her well-meaning family settle at her villa with a view to supporting the "poor widow" morally. Anne-Marie just cannot admit she is not distressed at all, especially to her son Christophe. She is now even more of a prisoner than when Gilbert was alive...

The Merry Widow

4.9 2007
Uncle Howard

When Howard Brookner lost his life to AIDS in 1989, the 35-year-old director had completed two feature documentaries and was in post-production on his narrative debut, Bloodhounds of Broadway. Twenty-five years later, his nephew, Aaron, sets out on a quest to find the lost negative of Burroughs: The Movie, his uncle's critically-acclaimed portrait of legendary author William S. Burroughs. When Aaron uncovers Howard's extensive archive in Burroughs’ bunker, it not only revives the film for a new generation, but also opens a vibrant window on New York City’s creative culture from the 1970s and ‘80s, and inspires a wide-ranging exploration of his beloved uncle's legacy.

Uncle Howard

6.5 2017
The Wilby Conspiracy

Having spent 10 years in prison for nationalist activities, Shack Twala is finally ordered released by the South African Supreme Court but he finds himself almost immediately on the run after a run-in with the police. Assisted by his lawyer Rina Van Niekirk and visiting British engineer Jim Keogh, he heads for Capetown where he hopes to recover a stash of diamonds, meant to finance revolutionary activities, that he had entrusted to a dentist before his incarceration. Along the way, they are followed by Major Horn of the South African State security bureau and it becomes apparent that he has no intention of arresting them until they reach their final destination

The Wilby Conspiracy

6.4 1975
Räuber Kneißl

Even today, Mathias Kneißl (1875-1902) is considered a national hero in the collective memory of Bavaria. During his lifetime, he was the most wanted criminal in Bavaria and even Prince Regent Luitpold was reported daily on the hunt for the lawbreaker report. Again and again Kneißl's story has occupied the Bavarian artists: his life was retold in folk songs and murders, sung in ballads, filmed and treated in various plays. In his feature film version, the Bavarian filmmaker Marcus H. Rosenmüller relies on a rapid staging, opulent images and a moving love story.

Räuber Kneißl

4.7 2008