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The False Note

A day in the life of an organ grinder, down on his luck, who wanders the streets of Paris, dreaming of what might be. He can't help but crank out the occasional false note, just often enough to enrage his listeners and discourage any donations. He dreams of playing a large pipe organ. The juke box drowns him out at a cocktail bar, a church organ drowns him out on a street, pinball machines drown him out at Luna Park. The city's neon lights and commercial posters overwhelm his small art. At the end of the day, he captures the tear of a calliope horse - his sole earnings for the day - which may prove magical.

The False Note

6.0 1963
Vibrations

Barbara, a frustrated writer who is also sexually frustrated, seeks to recharge her life by moving into a Manhattan apartment, where she earns money typing up manuscripts for other writers. Next door, a sexy young lady plays a variety of erotic games revolving around her hypnotically humming vibrator. When Julie, Barbara's hot-to-trot sister shows up, she reluctantly allows her to stay, even though memories of incestuous girlhood explorations between them cause her obvious distress.

Vibrations

5.0 1968
The March

The March, also known as The March to Washington, is a 1964 documentary film by James Blue about the 1963 civil rights March on Washington. It was made for the Motion Picture Service unit of the United States Information Agency for use outside the United States – the 1948 Smith-Mundt Act prevented USIA films from being shown domestically without a special act of Congress. In 1990 Congress authorized these films to be shown in the U.S. twelve years after their initial release. In 2008, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". (Wikipedia)

The March

7.0 1964
Quixote

Co-founder of Canyon Cinema and the San Francisco Cinematheque and one of the godparents of experimental film, Bruce Baillie (1931-2020) has forged a singular path in his visionary explorations of the world, his exquisite treatment of light and fragmented storytelling influencing successive generations of like-minded filmmakers. Shot on a cross-country journey during 1964 and 1965, is the Baillie film most in need of rediscovery. Joining the ranks of Bob Dylan, Robert Frank and Jack Kerouac in chronicling a tumultuous period in American history from the road, Baillie sets out "to show how in the conquest of our environment in the New World, Americans have isolated themselves from nature and from one another."

Quixote

5.4 1965