Discover Movies

13,442 Matches Found

The Jellyfish

The Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people – along with some drawings – to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat – washing up dead, stranded in the desolate landscape – as they are a threat – appearing suddenly and making people vanish.

The Jellyfish

6.0 1973
Chromatic

Experimental short contrasting the grey interior of a house with the vibrant colour of its garden. Sunlight shines through leafy trees. The camera zooms in until the image is out of focus. When it zooms out again, it reveals sunlight through leaves reflected in the window of a house. From inside the house, we see a woman, in colour and fully dressed, walk by a window. Outside, the camera and photographer are seen in a mirror. The woman, in black & white now and inside the house nude, walks around a large room, trapped. Further images of the naked woman are interspersed with colour images of the garden outside: pond, lilies, etc. Eventually, the image of the cameraman and his mirror returns and the reflection in the window and the sunshine through trees are repeated.

Chromatic

NR 1972
...et mourir de désir

To escape the police in the streets of Paris, a couple separates. The woman breaks into a hotel room and hides in a wardrobe. The occupant of the room discovers her and offers her to pretend to share his bed to deceive the policeman who controls the room. Heated by the situation, he then tries to rape her until the fleeing man appears and knocks him out. After giving leave to the young woman, the man begins to write. He recounts in voiceover the circumstances that led him to this situation.

...et mourir de désir

7.5 1974
Rod Stewart & Faces : The Final Concert

Recorded at London's Kilburn State Theater, Rod Stewart takes the stage along with guitarist Ron Wood, drummer Kenney Jones and the rest of the Faces for this electric farewell concert. In this classic live performance, the Faces are joined by the Rolling Stones' Keith Richards -- and their unique pub sound is complimented with a full-string orchestra. A set list of memorable hits includes "You Can Make Me Dance, Sing or Anything" and "Sweet Little Rock and Roller."

Rod Stewart & Faces : The Final Concert

8.0 1977
C-Film

Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

C-Film

7.0 1970
D' Muetter wott nur s' Bescht

Mrs. Wiesner has the fate of her family firmly under control. In her cramped janitor's apartment, she toils for the happiness and future of her children, who are supposed to be better off one day. Her daughter Helen thinks she is happily married to an American millionaire. Their son Herbert has managed to pass his A-levels with great difficulty and, unfortunately for him, is supposed to study medicine. Only the youngest daughter goes her own way, working as a waitress and socializing with foreigners. Nevertheless, everything seems to be in perfect order for mother Wiesner: her husband, a streetcar driver for the public transport company, is to inaugurate the latest streetcar as the crowning glory of his career. But as life goes: Happiness cannot always be steered into predetermined paths and sometimes things turn out differently than you would wish. When Helen unexpectedly returns from America with her child, Mrs. Wiesner's happiness begins to fade.

D' Muetter wott nur s' Bescht

NR 1979
Algeria 1954, The Revolt Of A Colonized

This film presents the point of view of an Arab from Algeria who rebels against colonization. He analyzes the process of awareness, the transition to revolt, to armed insurrection. Algeria and the settlers are seen through this lens and not the way a Frenchman saw the country. He gives voice to the Arabs at a time when this word was not heard: sometimes it was not even produced, at least publicly. The testimonies are based on real propositions, most of them were made to the author during his stay in Algeria from 1948 to 1956, then in 1958 and 1959. The comments are borrowed from the texts of Arab theorists of the revolution Algerian. This film thus completely evacuates the point of view of those who are not insurgents; he does not give the opinion of the colonists. It is the direct expression of what was the revolt of a colonized person: it thus constitutes the very type of the historical document.

Algeria 1954, The Revolt Of A Colonized

10.0 1974
Tosca

A stellar cast brings Puccini’s spellbinding opera to life, seizing every opportunity to thrill the audience. Luciano Pavarotti is Cavaradossi, the painter and political revolutionary in love with the beautiful and famous singer Tosca (the riveting Shirley Verrett). Rome’s diabolical chief of police, Baron Scarpia (Cornell MacNeil), wants Tosca for himself—but he underestimates the fury of a woman in love. With torture, murder, and a suicide in its final moments, Tosca packs more dramatic punches than most other operas—and this classic telecast captures them all. James Conlon conducts in a production by the incomparable Tito Gobbi, one of the great Scarpias of the 20th century.

Tosca

7.0 1978
The Dark Side of The Moon - Live at Wembley`74

Historic live performance by Pink Floyd on 11/16/1974 at the Empire Pool in Wembley, London. The band performed Dark Side of the Moon in its entireity, along with one of the final performances with Roger Waters of Echoes. This concert was recorded by BBC Radio 1, and this portion was broadcast on 1/11/1975 as part of Alan Freeman's program. The first set, which included songs from Wish You Were Here and Animals, was not included in this broadcast.

The Dark Side of The Moon - Live at Wembley`74

8.0 1974