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Shot in Paris after Moumen Smihi completed film school, Si Moh, pas de chance is an investigation into the lives of migrant workers in France. Connected back to the Maghreb by postcards and to his fellow migrants by shared experiences of alienation, the character Si Moh negotiates the industrialized suburbs of Paris as the subject of Smihi’s intimate camera.
The lord of the castle is found shot. His sister takes care of the appropriate wake, a firearm-happy guest from Spain romps around in the walls. An Italian listens to records of Bartók. The police doesn't appear.
Holiday with three at Lanzarote. Multiple relationship as a way of life.
An Italian teacher who revalidated her title in Argentina is assigned to a school in Jujuy.
a pet puma being taken for a walk
In 1978, Peter Przygodda, editor of Wim Wenders‘ films, Reinhard Hauff and Hans W. Geissendörfer, together with his Brazilian colleague Braulio Tavares Neto and Martin Schäfer at the camera, filmed the long-distance truck drivers on their journeys with heavy goods vehicles and thus obtained first-hand information. In the course of the trucker film wave ('Convoy') of the late 70s, his film was released in cinemas. Trucker life appears as a social phenomenon far removed from the romance and hero myths surrounding the adventure of the highway.
A trip around the clubs, pubs and discotheques in London, England.
Mom and Pop Aguilar and their two boys tour the island.
Little did this pretty brunette know when she applied for a babysitting job that her employer was an artist and that everything at his place differed from the outside world. What struck her the most was to find out that her boss had shrunk his wife and kept her in the fridge in order, as he said, to keep her safe from a hostile world!
While describing the area conservation schemes currently organised by the Civic Trust, this film indicates the importance of the public's role in preserving the human environment. It aims to alert us all to the need to guard our urban environment from erosion by the rapidly changing demands of the twentieth century.
A BAFTA award nominated documentary looking at the famous Tower of London Ceremonies.
A concert-film using innovative cinematic techniques to set music to images. As conductor Herbert von Karajan didn't like the experimental style, he had the film re-edited severely before release.
As a prize for a beauty contest, two girls win a trip to Bariloche.
A small-scale, bare room situation involving a man and a woman who are bound together in an endless cycle by their hopeless poverty. Tennessee Williams' themes are explored in the man's alcoholism and the woman's desperation.
A man interviews people. Michael Dudok de Wit graduated from the West Surrey College of Art with this film.
His passion for hunting almost spells doom for the sales manager of a GDR convenience store: his ambition to shoot a big buck just before the start of the closed season leads him to fall for a joke played by his son. He has tied horns to a prize-winning breeding goat, leading the hunter on the wrong track. While he tries to cover up the incident, there is a great deal of excitement in the village; resentment and schadenfreude arise, intrigues are played out and village gossip makes the rounds.
The children Sonja and Helmut Schmitt have lost their parents in a car accident. At first, their grandmother takes over the supervision and care of the two. When she no longer can take care of that due to her health, mayor and brewery operator Gassner provides them a new home. By doing this, he secures respect and approval in the village. What really happened isn’t suspected by anyone: The egocentric Gassner let his underage daughter drive his deregistered, medium-green old Mercedes. During that ride without a license, she caused the accident and forced her father to do an outwardly “good deed”. Because, if the truth came to light, Gassner would have to fear a defeat in the upcoming mayoral elections and damage to his reputation.
What seemed like a naive adventure of love becomes a tragedy, since our protagonist Javier, being seduced by young friends of his uncle, discover a hidden plot: "The Oedipus complex". This trauma leads Javier to cause an accident in which his mother's lover dies and unfortunately herself. But the tragedy will continue.
Laced with memories and dreams from the past, the film is a multi-layered personal documentary of the life of filmmaker Gunvor Nelson's parents and family in Sweden.
Short film about the life cycle of a moon jellyfish
Paul (William Donald Powell), a former American GI gets by as lead singer of a band in the wake of the 1968 cultural revolution in Munich. Paul’s monotonous life plays out between the hotel bar, his adjacent studio apartment, and the rare night out on the town or a visit to the suburbs. Director King Ampaw's thesis film at the University of Television and Film Munich is the second film by an African filmmaker to be shot in Germany (the first being Ibrahim Shaddad’s “Jagdpartie” in 1964).
The work and fantasies of one of the COBRA group's principal painters, with the participation of Alechinsky
A dreamlike adaptation of the legend of Ariadne and the Minotaur.
The practice of Structural/Materialist Film is defined in...process, construction, displaced reflexively...not displaced uniformly into the pattern of a narrative bound up for the stable subject-centred image. Structural/Materialist film has no place for the look, ceaselessly displaced, outphased, a problem of seeing, it is anti-voyeuristic.
Audiovisual about the launch of the newspaper AVUI, the first newspaper entirely in Catalan, recorded on 22 and 23 April 1976.
Time and movement have traditionally been used to establish the illusion of space in film. In this film I have tried to de-emphasize both these illusionary properties by altering the space within the camera rather than the space in front.
Emily - Third Party Speculation is the second of a ‘domestic trilogy’ exploring the relationship between the restricted camera viewpoint and the construction of documentary narrative. The other two films in the series are Blackbird Descending - tense alignment and Finnegan's Chin - temporal economy. Constructed around the repetition of ‘neutral’ domestic scenes, this film attempts to address the problems of identification in cinema.
The author and his partners. Multiple relationship as a way of life.
In addition to music by Family and Procol Harum, you can hear a composition of percussive natural sounds—rain drumming on the window—and...
Two night watchmen take a man sleeping on a park bench to the police station.
The title of Te Veo, is a joke with T.V. (television). Consists in a collage of shots in super 8 of images of the TV. The collage is extremely quick, mixing average people with famous paintings, landscapes and churches, etc. The images become more and more abstracts, the referential pre-existing images are transformed by means of extreme close-ups of the screen, which ultimately becomes completely abstracts with texture of the TV like a television pointillism.
Protect and Survive was a public information series on civil defence produced by the British government during the late 1970s and early 1980s. It was intended to inform British citizens on how to protect themselves during a nuclear attack, and consisted of a mixture of pamphlets, radio broadcasts, and public information films. The series had originally been intended for distribution only in the event of dire national emergency, but provoked such intense public interest that the pamphlets were authorised for general release.
' He's wasted his life and yours, Olive, on this sort of idiocy. He could have been a headmaster by now, if he'd stuck to teaching.' Jack Dunn is determined to beat the system with pen and postage stamp.
Broadcast from 1977 to 1987 on FR3, every Sunday morning, for 1h30, Mosaïque is a variety show with a set where music groups from the countries of origin of immigration perform, and which broadcasts reports on these countries and on immigrants who live in France. When it was created, it aimed to promote the cultures of origin of immigrants, but also to make them better known to the rest of the population. However, the program was never financed by public television which considers that it was aimed at a specific audience and was therefore not part of a public service mission. It received financial support from the Ministry of Labor, through its subsidy to the National Office for the Cultural Promotion of Immigrants, ONPCI (later becoming Information Culture and Immigration, ICEI, in 1977, then Agency for the Development of Intercultural Relations , ADRI). , in 1982).
An adaptation of the Aeschylus play.
An animated visual interpretation of the song "Autobahn," by German electronic pioneers Kraftwerk. A fast-paced experimental film which proved to be a groundbreaking combination of electronic and manual animation. One of the first films produced specifically for video disk.
The film accompanies a Turkish family of three on their vacation in Turkey. Their daughter Jale, born in Karlsruhe, was supposed to get to know her home in south-eastern Turkey.
'I'm unusual. I really want to be an architect. Always have done. Always wanted to build fine buildings and fine cities where people can work and eat and sleep and be happy. But the rules of the game say before you can do that you've got to start a firm. Employ people. Turn it into a career. I like architecture. I hate careers. The minute you make it a career you build a ladder and people want to climb it. Sometimes they stand on your fingers. It's hard to draw with flattened fingers. Spoils your draughtsmanship.'
Drama by Walter Bockmayer.
They are a true crook quartet, the kind you don't meet every day: Eliza, the old lady with the kind eyes. Bred, the charming boy. Jane, who loves Bred. And Larry, who is not afraid to do the filthier jobs. At the moment, the four musketeers of the underworld are targeting the jeweller Stockwell in London's posh Bond Street...
Immediately after the screening of CHANTILLY at the MBXA (Paris) on November 8, 1976, we began a new film project, continuing to explore the concomitance of several simultaneous images within the framework of the cinematographic image, but which, freed from the orthogonal grid of the previous film, would be able to move freely in space: they would collide.
Karl Richter conducts Peter Schreier, Ernst Gerold Schramm, Siegmund Nimsgern, Helen Donath, Julia Hamari, Horst R. Laubenthal, Walter Berry, and Muenchner Bach Chor & Orchestra in 1971.
Frightening events unfold that may or may not be figments of Marigold’s imagination.