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People of the Seal, Part 2: Eskimo Winter

The second of two coproductions by the British Broadcasting Corporation and the National Film Board of Canada, People of the Seal, Part 2: Eskimo Winter is compiled from some of the most vivid footage ever filmed of the life of the Netsilik Inuit in the Pelly Bay region of the Canadian Arctic. Together, the two films provide insight and understanding of a culture now almost vanished, as they show the incredible resourcefulness of the Netsilik (People of the Seal) who have adapted to one of the world's harshest environments. Part 2: Eskimo Winter shows how Inuit families gather in communities on the sea ice to harpoon seal as they come up through breating holes in the ice. Also seen is the mid-winter season, a time of intense socializing in the communal igloo, with games, contests and ceremonial activities.

People of the Seal, Part 2: Eskimo Winter

6.7 1971
Don't Be Like Brenda

The brutally entitled Don't Be Like Brenda (1973) is an eight-minute lecture to young women, telling them not to be sexually promiscuous like the film's hapless heroine – although heaven knows, the promiscuity hinted at here is tragically modest. Poor Brenda goes all the way with a boy who does not marry her. The film is stunningly without any useful educational content on contraception and makes it entirely clear that the woman, not the man, is to blame. The film even makes her poor unwanted child suffer from a heart defect, so that no one wants to adopt the poor little thing – just to hammer the point home. (from: http://www.theguardian.com/film/filmblog/2009/feb/11/sex-education-films)

Don't Be Like Brenda

3.2 1973
All Day on the Sands

Mr and Mrs Cooper are staying at a boarding-house in the seaside resort of Morecambe with their small children, Colin and Jennifer. Mr Cooper has just been made redundant, but the family are trying to keep this a secret from the other guests. Also staying at the hotel are Keith and Jo, a young couple on their honeymoon, and an older couple, Mr and Mrs Thornton. Waking early one morning, Colin amuses himself by dangling one of his sister's sandals out of the window on a piece of string. The sandal accidentally lands on a flat roof just outside the window of the honeymooning couple, and his father's now straitened financial circumstances mean Colin has to get it back, by fair means or foul.

All Day on the Sands

7.0 1979
Sign

Du Cane describes his cinema as “as close as I can get to an immediate transference onto celluloid of my flux-like process in response to being here now, filming.” Sign is a “room film”, shot entirely in what appears to be the filmmaker’s studio: film cans, reels and other cinematographic can sometimes be distinguished amongst the rapid camera movements. Du Cane’s rarely shown films are amongst the most pure and radical of their period. Instinctive yet formal, structured and organic, the physical world is turned into a screen-based labyrinth that is both surface and depth, through the retinal rush of incremental superimpositions and delicate cameral control.

Sign

5.0 1973
Bread

On their way home from the Isle of Wight Pop Festival, Jeff, Trev and Mick along with girlfriends Marty and Cathy decide to pitch a tent on private land. In the morning the land's owner Rafe turns up and orders them to get off his lawn but changes his mind when one of the girls emerges naked from the tent. Rafe explains he only comes down to the house at weekends and lets them stay providing they redecorate his house. The squatters agree but once Rafe leaves they plot to organize a pop festival at the house. Attempting to raise cash for the venture, the men coerce their girlfriends into making a blue movie. When this proves disastrous Jeff goes to London and poses as a pop journalist in order to book the groups "Crazy Mabel" and "The Juicy Lucy" for the festival.

Bread

4.7 1971
Before Hindsight

Newsreels from the '30s constitute the bulk of this fascinating documentary, clearly illustrating that the public was fed an extremely biased view of events: straight propaganda, the stricture to provide entertainment, and the attempt to be objective all contributing to this. Lewis and producer Elizabeth Taylor-Mead have constructed their argument well, but it is Jonathan Dimbleby's brief comments towards the end that contain the crucial lesson: forty years on, the same forces work to distort our view of Northern Ireland. The film only indicates this to be the case, but it is precise and coherent enough to make the point with considerable force.

Before Hindsight

7.0 1977