The first part of a series of diary films made according to structural parameters and completely edited in camera was shot entirely by single frame and varying the zoom lens to create a surrounding and vibrating 360 view of my city, as seen from my rooftop.
The first part of a series of diary films made according to structural parameters and completely edited in camera was shot entirely by single frame and varying the zoom lens to create a surrounding and vibrating 360 view of my city, as seen from my rooftop.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
In a Paris hotel room, Jack Whitman lies on a bed. His phone rings; it's a woman on her way to see him, a surprise. She arrives and the complications of their relationship emerge in bits and pieces. Will they make love? Is their relationship over? (A prequel to The Darjeeling Limited, 2007.)
Nick is desperate, holed up in a cheap hotel, suffering from an ulcer and convinced that a local mob boss wants him killed. Terrified, he calls Mikey, his friend since childhood and a fellow gangster. So begins a long night…
A look behind the lens of Christopher Nolan's space epic.
A photographer takes up newsreel shooting to impress a secretary.
เจาะลึกเบื้องหลังความละเมียดละไมและความทุ่มเทตลอดหลายปีของพี่น้องดัฟเฟอร์ ในการสร้างซีรีส์ระดับตำนานเรื่องนี้ในซีซั่นสุดท้าย
This character-driven film considers the evolving sex trafficking landscape as seen by the main players: the exploited, the pimps, the johns that fuel the business, and the cops who fight to stop it.
For a year, acclaimed British filmmaker Jeanie Finlay was embedded on the set of the hit HBO series “Game of Thrones,” chronicling the creation of the show’s most ambitious and complicated season. Debuting one week after the series 8 finale, GAME OF THRONES: THE LAST WATCH delves deep into the mud and blood to reveal the tears and triumphs involved in the challenge of bringing the fantasy world of Westeros to life in the very real studios, fields and car-parks of Northern Ireland. Made with unprecedented access, GAME OF THRONES: THE LAST WATCH is an up-close and personal portrait from the trenches of production, following the crew and the cast as they contend with extreme weather, punishing deadlines and an ever-excited fandom hungry for spoilers. Much more than a “making of” documentary, this is a funny, heartbreaking story, told with wit and intimacy, about the bittersweet pleasures of what it means to create a world – and then have to say goodbye to it.
Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders.