5973 Matches Found
The Kangaroos Who Forgot (1979, 6 min.) is about two kangaroos in Australia who get lost and are adopted by a platypus family. They’re raised as good platypuses, but have they remained true to themselves?
From the Video Sculpture series.
Rich landowner uses a hired gun to exploit the local peasantry more efficiently. It doesn't end well.
The Priory is a public extended-care hospital in Victoria, British Columbia, for people suffering from chronic geriatric illnesses. Treatment is innovative. It is based on the theory that even the ordinary activities of a patient's life contain elements of therapy. The film shows us how patients are encouraged to do as much as they can for themselves despite their confinement to wheelchairs.
The touching story of two women discovering their true feelings for each other.
A character, played by Jean-Yves André, is caught in the trap of a "closed room". After his disappearance, the voice of Nico is heard. "Fiction" is parasitized by the structure of the film and by the accumulation of references to Bataille, Burroughs, Calder, Lovecraft, Michaux, Warhol.
“Shot at a Bohemian crematorium outside Chicago, this self-viewing at work makes metaphoric reference to the location and process of cremation. Still photos, drawing, bleach, inks & silver tape were used to ‘move heaven and hell’, all from the vantage point of a devout atheist.” (J.B.)
A compelling and revealing exploration of one person's psyche in crisis.... The film is a screen diary of a man in his early 30s afflicted with a life-threatening disease, a man confronting his own mortality.
The first verse of an elegy by Louise Labbé, a Lyon poetess, the subject of an unfinished project.
Like a sequel to Tuyul (childlike ghost similar to goblin or imp), the Head tuyul is angry as one of their members died (as seen in the previous film). Therefore, he sends the black imp and white imp for revenge. These imps come to Bokir’s house by mistake. Bokir is crazy about a singer, who is signed by Karto, whose house is actually where these imps are meant to go. They are sent to kidnap the singer and to take all of the wealth. The disturbance of these imps can be solved by practising proper prayers. Bokir goes mad and unintentionally reveals the secret of his imps and causes his own death by falling from a high building. Upon his death, the imps are released. They fly with a magic carpet, but when they fly over a mosque, their flying carpet falls down.
There But For resembles a soap opera; its characters—a couple whose relationship has seen better days, a ball-and-jack playing adult/child, and a couple that comes to visit the family—are in the midst of their day-to-day lives (an imitation of life). The music was composed and performed live on the set as the play unfolded. There But For is a free-form chance operation within the defined boundaries of place (an apartment) and the assigned roles of the players: the mother (bitch), the father (jerk), their kid (retard), and their visitors. The players continually argue as they feel their way through this structure, where ambiguity is the form. The kid asks, “Is mediocrity its own reward?” Perhaps the clue for the viewer is in the tape’s title: There But For (the grace of God go I)."
You are about to embark on a voyage of music and image, into the stellar atmosphere of inner space.
“THE BROKEN RULE is my reaction to the American education system, where learning blocks must be acquired by the group before any individual can progress to the next level. My film pictures learning blocks as relay races conducted by male players, where the girls are scores, and the goal is to enter the working world by the end of the game. Mike Kelley, the lead player in my film, makes a ritual out of his mistakes to escape the consequences of his mistakes. In this film, one person’s work is another person’s play, and play creates competition, a component of work.” — E.B. 1979
“A production that no one will ever accuse of exploring light and movement for their own sakes. With a calculated indifference to craft, Burns celebrates himself in a portrait of the artist as a post-conceptual composite of Alfred Jarry and Ralph Nader. WHY CARS? details Burns’ strenuously bizarre campaign to establish pedestrian crosswalks in his Australian hometown, then follows the extension of his work across the globe to TriBeCa. […] [WHY CARS?] is an aggressive jumble of car wrecks, TV (interviews), scenes from loft life, and some Chinese propaganda shot off of the screen at Film Forum.” –J. Hoberman, VILLAGE VOICE
Official entry to the first Metro Manila Film Festival in 1979 directed by Armando A. Herrera and starred Fernando Poe, Jr., Tina Monasterio, Yvette Christine, Paquito Diaz, Lito Anzures, Vic Diaz, Romy Diaz, Bentot, Jr., and Max Alvarado.
During the ensuing years of developing the land, remodeling the house, the studios, and various outbuildings, as well as various projects and excursions with my partner and friends, I carried around the smallest and humblest of unobtrusive regular 8mm movie cameras with which I could both record interesting moments and also weave a cinematic fabric equivalent to the gestural style and compositional concerns of Abstract Expressionism, a style of painting I had studied, practiced, and related to since the late 1950s. In other words, these film interludes are Abstract Expressionist home movies.
When Maria returns to Puerto Rico to celebrate her 21st birthday, her Sesame Street neighbors arrive to surprise her at the party.
Directed by Barry Callaghan.
Headmaster Yoon at Neungkol has four sons. The eldest son named Dong-Cheol dies at the war. Yoon adopts Yuriko, a Japanese orphan, as his daughter at 1945 Liberation. The second son named Dong-Min devotes himself to the communist ideology to quarrel with his father with the help of Won-Kyu. One day Yoon is killed with rifles by Won-Kyu, and Yun's wife adopts Keun-Shik, Won-Kyu's son, as her son. At the occurrence of 1950 Korean War, the third son named Dong-Seok becomes a policeman. The youngest son named Dong-Kuk and Keun-Shik escape to Pusan. Dong-Kuk becomes a South Korea Army's soldier, while Keun-Shik becomes a smuggler. Dong-Min is killed on the charge of a communist, while Keun-Shik becomes a millionaire. Dong-Seok kills himself at 1961 students revolution, while Keun-Shik is put in jail in 1962 military revolution.
Radha (Zarina Wahab) and Sunder (Asrani) and a child (Master Jeetu), are street singers, who earn their living singing and dancing on streets, especially in the posh area near the Taj Mahal Intercontinental Hotel opposite Gateway of India in Bombay, India. Radha is pretty much down to earth and is content with living this life, working hard. But Sunder has big dreams of becoming rich, wealthy, and famous - quickly. Sunder's dreams do come true, albeit temporarily, when he wins a all-paid week's stay at a five star hotel, and comes in contact with the rich, the wealthy, and the famous. Lyrics penned by Majrooh Sultanpuri. Two songs stand out even now "Hum bhi rahon me khadey hai yaar idhar dek lo janeman pyar se ik nazar dek lo..."; and "Na sharab hamey kaam hai, ye teri nazar ka kamaal hai jo laga diya hamey kaam pe....".
This mythological tale of arrogance and downfall was adapted from the "Ramayan" myth. Lord Shiva, the omnipresent god who represents destruction, is displeased with Ravana, the proud demon king of Sri Lanka. So Shiva sends him a gift -- a daughter -- who ultimately turns out to be Ravana's downfall.
Although he spent a relatively short period of his life in Austria, Canadian-born John Cook (1935–2001) remained, in his own words, "Viennese by choice.” Having worked as a commercial photographer in Paris, Cook’s […] first “regular” production was Schwitzkasten, based on a novel by the leftist writer Helmut Zenker. Today, the film is considered one of the few undisputed masterpieces of the New Austrian Cinema: a freewheeling, tender, and strangely humorous portrait of working-class (and out-of-work) lives.
A play by James Cameron.
Portrait of Nicole-Lise Bernheim
Experimental short by Takashi Nakajima.
A young pastor faces a difficult trial when his wife suddenly falls ill.
A 1979 Serbo-Croatian language drama film written and directed by Stevo Žigon, starring Jelena Zigon, Marko Todorović and Olga Spiridonovic.
Foreman spent the early months of 1979 rehearsing a play called Madness and Tranquility (My Head Was a Sledgehammer), which he abruptly cancelled very shortly before its scheduled opening. Film critic and longtime CalArts professor Berenice Reynaud documented those rehearsals and used the footage in this rarely screened essay film, which had long been considered lost. Miraculously, Anthology has recently rediscovered the original 16mm elements and has digitally restored the film for this occasion. A truly exciting find that presents the only known footage of an important, albeit lost, Foreman work.
Views from Here tells the story of Annie, a housewife and mother of three who begins to suffer from her cloistered, family-centered life. The only dream that brightens her life is the ongoing construction of a house in a housing development. When her husband's hours are reduced, putting this project in jeopardy, Annie starts looking for a job... and finds one. Her life is transformed.
Using sharp glancing blows, it demonstrates how we are now able to effect an energy transference from one American gas guzzler to another.
Color UCLA Student Film, Preserved by the UCLA Film and Television Archive. Two women, one white and one Black, are performing the chores of a housewife at the beach, sweeping the beach, ironing out footprints and tire prints in the sand, dusting shells, washing rock faces, dusting dandelions, and mopping the surf back to sea. They work separately but come together at the end to watch the sunset, both hands clasped on the same mop handle.
Often called “the pioneer of lesbian gaze,” iconic San Francisco photographer Honey Lee Cottrell was a student at San Francisco State University when she made this lustful, elliptical exploration of female fantasy and self-love.
An inside look at China working towards the goal of becoming a superpower by the year 2000 via education as the key to modernization. Filmed in Peking, on a rural commune in central China, and in the industrial northeast region, Jack Reynolds interviews Vice Premier Fang Yi and the president of Peking University, as well as students, workers, and peasants.
Short educational film about tasks.
A short film by André Lehmann
An environmental documentary about threatened Argentine species.
Early short from Joel D. Wynkoop.
Second of two versions of this story by Michael J. Murphy. Both versions are considered lost.
This documentary examines the way of life and the cataclysmic end of the Minoan people who lived in Knossos, an ancient city on the island of Crete.
“The film you are about to see now will not be projected onto the sky, as Maurice Lemaître’s film, UN SOIR AU CINÉMA, was in part in the 1960s during a performance in the gardens of the American Center, Boulevard Raspail, because it is made of transparent film, from beginning to end. And the image is precisely the projection of all the dust, scratches and accidents of all kinds whose transparency is altered, like so many stars and galaxies of possible images.” –Maurice Lemaître
A zombie child terrorizes some teens.
Impressions from the wedding of two young Chileans in the German Democratic Republic.
This short documentary produced by Australia’s national science agency CSIRO in 1979 traces the introduction of the European rabbit to Australia and subsequent attempts to control its population.
A film by Jean Sousa.
Four abstracts that may have been inspired by the spirit of Arnhem Land's geomancy. I'll trade you a print of QUARTET for air-fare to Ayher's Rock. –D. L.
The film is composed primarily of a series of zooms inside an apartment in Logan Square accomplished by running or walking with the camera, and also features two cats and footage of the blizzard of 1979.
Mexican feature film
Documentary on the life of Hubert Aquin. Alive, he was a dazzling and extraordinary character. Dead, he is already legendary. From his legend, everything is both true and false. Neither biography nor critical work, this film is an evocation of his universe.
This film (which is silent apart from a song from the Easter Uprising of 1916 that it illustrates) uses only techniques available at the time, thereby giving the impression of what a Republican propaganda movie would have looked like had they the access to film making resources. Shot in black and white it has a hand-tinted section at the end which was quite common during this period.