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Un sanglant symbole

Un sanglant symbole is two films: the film of the image and the film of the voice. The film of the image was shot before the film of the voice. The film of the image is the reproduction of 160 photographs (of films, advertisements, news ...) filmed in variable durations (more and more slowly, then more and more quickly). What do we see? Looks. Hand gestures. The film of the voice is not a comment. Neither a voice-over: in no way does this voice have such a status and even less the character of an exhibit for a better understanding of the film. On the contrary, she perverts, disturbs, worries.

Un sanglant symbole

9.0 1979
Union der festen Hand

Erik Reger’s roman à clef examines the development of the Rhineland industrial region from 1918 to 1928, using the Risch-Zander steelworks as a case study: Strikes, the Emperor’s visit, revolution, workers’ and soldiers’ councils, the occupation of the Ruhr, the fighting following the Kapp Putsch, and inflation characterize the desperate situation of the industrial proletariat. The content cannot be retold: it is not about individuals, but at best about sociologically balanced specimens of a species. It is about the sociocultural complex of the Ruhr region, about heavy industry as its organizing center; it is about those involved, from the laborers to the managers; and finally, about the political parties, from the KPD to the NSDAP.

Union der festen Hand

NR 1979
The Spiritualist

Alberto Ramos, known as ‘the best photographer in Lisbon’, is also a famous medium who uses his professional gift to enjoy a libertine lifestyle that gives him access to the upper social classes. Margarida Malveira, a rich 50-year-old widow, consults him in the hopes of establishing contact with the love of her life, deceased 30 years prior. After one session, the spirit of Margarida’s husband possesses Alberto’s mind, forcing him to take care of his wife. - MOTELX

The Spiritualist

4.7 1977
Andrés Segovia: The Song of the Guitar

In this stunning film by Christopher Nupen, Segovia returns to the Granada of his youth, site of his personal and musical formation. The world-famous Alhambra—empty of tourists, between midnight and 4 AM—plays host to a deeply moving selection of Segovia’s signature pieces, many in his own arrangements, all imbued with the meditative, profoundly soulful qualities that lifted him to the pinnacle of artistry and helped him redefine what was considered possible for guitarists.

Andrés Segovia: The Song of the Guitar

NR 1977
Meeting the Man: James Baldwin in Paris

In 1970, a British film crew set out to make a straightforward literary portrait of James Baldwin set in Paris, insisting on setting aside his political activism. Baldwin bristled at their questions, and the result is a fascinating, confrontational, often uncomfortable butting of heads between the filmmakers and their subject, in which the author visits the Bastille and other Parisian landmarks and reflects on revolution, colonialism, and what it means to be a Black expatriate in Europe.

Meeting the Man: James Baldwin in Paris

7.0 1971
What Am I Doing in the Middle of the Revolution?

In the beginning of the 20th. century Italian actor Guido Guidi, more enthusiastic than talented, and his ensemble tour Texas. The mysterious and obviously rich Peppino Garibaldi gives them an offer, they can’t deny: For a large amount of dough they should play “Richard III.” in the Mexican town Vera Cruz. But Peppino is not really interested in cultural affairs: He supports “La Revolución” and “General” Carasco, who utilizes the feastful premiere of “Richard III.” to raid Vera Cruz for Comandante Zapata. But shortly after the Mexican Army shows up with some canons in tow to sort things out. Guidi and Padre Albino, Italian like him, succeed to flee and save Carasco accidentially from the firing squad. Whereas the latter coninues his revolutionary fight, Guidi and Albino start an odyssey through the struggling Mexico, which lets them fall one time in the hands of Carasco the other time in those of Herrera or even in the clutches of “hand-taking” bandidos.

What Am I Doing in the Middle of the Revolution?

5.5 1972