"All -Singing All-Dancing" Before And After

Die Zeit meines Lebens - Dirty Dancing in Ost und West

Experience a mystical journey through nature performed by a movement artist. Felix faces the whirling challenges of his inner turbulence with an emotionally charged dynamic, delicate strength, graceful dignity, as well as ecstatic devotion. Behold the fire dancer in the night.

Two young strangers meet in Naples and begin to flirt and dance in the street.

Mike Lane takes to the stage again after a lengthy hiatus, following a business deal that went bust, leaving him broke and taking bartender gigs in Florida. For what he hopes will be one last hurrah, Mike heads to London with a wealthy socialite who lures him with an offer he can’t refuse… and an agenda all her own. With everything on the line, once Mike discovers what she truly has in mind, will he—and the roster of hot new dancers he’ll have to whip into shape—be able to pull it off?

Questione di DANZA

A day in the European Parliament and surrounding area. This dance film is inspired by the work and lifestyle of the Eurocrats in Brussel’s EU district and features five dancers. The characters dance, run and glide through the empty spaces in an atmosphere beyond time, decontextualized, in an architectural non-site.

On a voyage into the dark, we follow a man portraying an intens dialogue with the subconscious. A vignette into the process of looking inward, evaporates the ego and listens to what wants to be heard, on the road to letting go. A requiem for the death of the self.

In 1832, a Canadian infantryman at Fort York was hanged for making love with another man. The victim's rank was private and his name was Flowers. Private Flowers is a new multimedia installation and film that explores a dark chapter of Canadian 2SLGBTQ+ history.

As the only flower Yağmur has on her balcony, a peace lily starts to fade away, her friend tells Yağmur an old myth: Peace lilies cannot blossom when they are alone. Yağmur and the flower start to share the same path when they both blossom out of their loneliness.

Tom Doyle und Eva Hesse

Blues and folk singer Karen Dalton was a prominent figure in 1960s New York. Idolized by Bob Dylan and Nick Cave, Karen discarded the traditional trappings of success and led an unconventional life until her early death. Since most images of Karen have been lost or destroyed, the film uses Karen's dulcet melodies and interviews with loved ones to build a rich portrait of this singular woman and her hauntingly beautiful voice.

Showtime's "In the 20th Century" is a millennium-related series of feature-length documentaries in which famous directors take on major subjects of their choosing. In the fourth of the six films, "The Pursuit of Happiness," filmmaker Robert Zemeckis delves into the history of America's relationship with mind-altering substances over the past 100 years, presenting interviews with historians and professionals in the drug treatment field, interspersed with a treasure trove of film and television clips depicting the highs and lows of smoking, drinking and drugging in the 20th century

Stories about Tartu and Southern Estonia, capturing the tricks and mysteries about the arts of survival. Renowned filmmakers from Estonia and abroad bring us uniquely wild tales of people, communities, and the culture they live in. In these stories, we meet peculiar vehicles known as “karakat” from Peipsi, charming non-places of Tartu, the wild German woman living an off-grid life without water and electricity, mischievous goats and crazy village parties, the diverse Annelinn residents and nostalgic Petseri, slime mould and space exploration, and of course, the artists of survival from today and past.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

We live in a world where the powerful deceive us. We know they lie. They know we know they lie. They do not care. We say we care, but we do nothing, and nothing ever changes. It is normal. Welcome to the post-truth world. How we got to where we are now…

An interview with infamous German filmmaker Leni Riefenstahl carried out by Sandra Maischberger in preparation for the subject's 100th birthday, and the release of not only her final film, but her first film in 48 years.

Ras-le-bol sous les ponts de Paris