Nothing Like Before delves into the creation of the Clube da Esquina Album (Brazil, 1972). Considered by many music critics one of the best albums of all time, it presented to the world musicians like Milton Nascimento, Lô Borges, Toninho Horta, Beto Guedes and Wagner Tiso.
Não Sei Qual Cidade se Passa aos Olhos Dele
videomemoria
Follow all the behind the scenes of Cruzeiro Esporte Clube's conquest and celebration of the Sixth Brazilian Cup. Unpublished images and testimonies of the club's tenth national title.
GêVê
Pra Ver a Banda Passar
Nigim is an ufologist from the city of Passa Tempo in MG who recorded numerous appearances of et’s from the Planet of Jov. But now, it seems like who is being watched is him.
Amadeu
Gerais da Pedra
Soberano o Cruzeiro Resplandece
Curral Central
Bateria Meritíssima TABU 2023
Cruzeiro: As crônicas do Bicampeão da América
In the morning after the night they met, Alana and Laís talk on the phone about what that night meant to each of them.
Documentary follows Gabriel Yorke, the actor turned Berkeley professor, who, after 25 years of silence, is finally willing to speak about his participation in the controversial film Cannibal Holocaust (1980).
This feature-length documentary traces the journey of the Haisla people to reclaim the G'psgolox totem pole that went missing from their British Columbia village in 1929. The fate of the 19th century traditional mortuary pole remained unknown for over 60 years until it was discovered in a Stockholm museum where it is considered state property by the Swedish government. Director Gil Cardinal combines interviews, striking imagery and rare footage of master carvers to raise questions about ownership and the meaning of Aboriginal objects held in museums.
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.