A Morte de Narciso

David Hockney is unquestionably one of the most passionate and versatile experimental artists on the contemporary scene. In the late 1970s the British artist developed a pioneering concept which also changed his perspective on painting – his “joiners”. In this film, the artist himself talks about this photographic approach, a kind of Cubism-inspired photocollage which explores the space-time continuum. Hockney allows the viewer to share in the creative “joiner” process and leads us step by step into the universe of his artistic creativity.

The Robert Mapplethorpe documentary, from 1988--one year before he died--is an excellent examination of one of the most controversial of American photographers. British documentarian Nigel Finch does an outstanding job fusing interviews with Mr. Mapplethorpe himself, with critic and author Edmund White, and with several of Mapplethorpe's subjects as well, with numerous shots of the man's work. Mapplethorpe, gay, did not hesitate to photograph what he wanted to without fear of reprisal or censorship. Indeed, a good number of his pieces were not shown in the documentary at its original airing on PBS with the comment, "Considered Unsuitable for Viewing On This Transmission." His openly sexual work can at times be more than shocking, but it is always powerful and direct; as critic Lynn Davies says in the documentary, he did not pose people but photographed them doing what they would normally do in the course of their lives.

SNAP - A fotografia de Haruo Kaneko

Frank Connor, stills photographer on The Elephant Man, discusses his work on the film as well as the evolution of his career, with some very interesting comments about the 'old days' and David Lynch's working methods.

During the 2012 season, two Montana High School teams compete in 6-man football, a smaller version of American football with increasing popularity in rural communities. It's pure football, for the sake of football, played by boys of all sizes and abilities, for themselves and for the communities who know them oh so well. No television timeouts. No place to sit. Six Man Football.

To open a photographs box is to travel through past and present, thinking about the future.

Czech Photographer Josef Koudelka grew up behind the Iron Curtain and always wanted to know "what was on the other side". Forty years after capturing the iconic images of the Soviet invasion of Prague in 1968, the legendary Magnum photographer arrives in Israel and Palestine. On first seeing the nine-meter-high wall built by Israel in the West Bank, Koudelka is deeply shaken and embarks on a four-year project in the region which will confront him once again with the harsh reality of violence and conflict. Director Gilad Baram, Koudelka's assistant at the time, follows him on his journey through the Holy Land from one enigmatic and visually spectacular location to another.

Grete Stern decided to be a photographer. Then she also decided to be Argentinian. Those two choices are interwoven in a unique heritage, of paramount importance for modern Argentinian photography, that helps us better understand the world we live in and the worlds that live inside us.

Willy Ronis lived his life between Paris and Provence capturing post-war life. From a historical shot to intimacy, his pictures speak of history and the idea of framing. He was the first French photographer to work for LIFE magazine.

The story of how police repeatedly allowed a serial murderer to slip through their fingers. Stephen Port date-raped and murdered four young gay men in East London within fifteen months and dumped all four bodies within a few hundred metres of each other. The film tells the story through eyes of the families of Port's victims, unpicking how the police failed to properly investigate each of the deaths in turn. The police's assumptions that these young gay men had died from self-inflicted overdoses of chem-sex drugs allowed Port to continue raping and killing innocent young men.

A camera crew follows Helmut Newton, the fashion and ad photographer whose images of tall, blond, big-breasted women are part of the iconography of twentieth-century erotic fantasy. He's on the go from L.A., to Paris, to Monte-Carlo, to Berlin, where he was a youth until he escaped from the Nazis in 1936. We see him on shoots, interviewing models, and discussing his work.

Gender Me is a road movie about Mansour’s voyage into the world of Islam. It is a personal odyssey through a world of taboos, filled with contradictory images. He explores questions regarding faith and gender in Islam with a special focus on the unusual stories of Muslim gays. Mansour is a homosexual Iranian refugee who has been living in Oslo for the past 18 years where he works as a pharmacist. Now he wants to travel back to Istanbul, where he lived for two years before he was granted asylum in Norway.

Henri Cartier-Bresson: The Decisive Moment is an 18-minute film produced in 1973 by Scholastic Magazines, Inc. and the International Center of Photography. It features a selection of Cartier-Bresson’s iconic photographs, along with rare commentary by the photographer himself.

This nicely made erotic video goes behind the scenes at a Tom Bianchi photo shoot for a sports spread. There are hot shots of the games and posing for the loving camera lens. Bianchi gives us some incisive interview moments with athletes in dance, basketball, wrestling, fitness training and triathlon. After the active photo session it's into the shower with these hunks and a nude photo session. A nice glimpse behind the scenes with the most prominent photographer of nude men in the business. One note is that Bianchi is one of the most handsome guys we've seen in his age bracket - perhaps it's because he loves his job so much, who wouldn't love to photograph beautiful men all day?

This documentary follows film photographers Simon Riddell and David Allen as they try to turn an underground WWII oil storage facility in the Scottish Highlands into what may be the world’s largest darkroom. The once top-secret Inchindown storage facility comprises six fuel storage tanks and two access tunnels. When the facility was built in 1938 it was the largest underground man-built structure. Each tank measures 237 meters long, 9 meters wide, and 13.5 meters high.

In 2005 the NGO Cultural Association Visible in Madrid begins to create a collection of gay-themed art (LGBT), with works donated by artists from around the world. The Visible Collection contains more than four thousand works of artists from thirty countries, what's making it in one of the world's largest of its kind, and now is looking for a space to be displayed. The documentary tells the story of how a project was realized that only seven years ago seemed impossible and now is looking for a "home", a museum to house the collection of a stable way and protect it from inclement weather and the vagaries of history and politics.

Holding hands or kissing in public isn't for everyone. When it comes to same sex relationships, showing your love outside of the home is sometimes a complicated personal choice. This short documentary moves between the public and private spaces in which lesbian and gay couples live, and explores small gestures of human connectedness. These gentle interactions not only carry a huge personal significance, but also the potent power to create social change. Yet, for most people, being affectionate beyond the hall door isn't intended as a political statement - it's an expression of love.

In this funny and erotic mockumentary, director Toby Ross takes an out of the box look at homosexuals - dividing them into two major groups: those who are into it for the sex and those who are looking for relationships. The live reenactments are an eyeful and it goes through all the levels and strands of gay guys. Out and proud, fringe homos, closet cases by design, country fags, and more.

Revisit photographs created by Kentucky school children in the 1970s and the place where their photos were made. Photographer and artist Wendy Ewald, who guided the students in making their visionary photographs, returns to Kentucky and learns how the lives and visions of her former students have changed.

“There’s a bus stop I want to photograph.” This may sound like a parody of an esoteric festival film, but Canadian Christopher Herwig’s photography project is entirely in earnest, and likely you will be won over by his passion for this unusual subject within the first five minutes. Soviet architecture of the 1960s and 70s was by and large utilitarian, regimented, and mass-produced. Yet the bus stops Herwig discovers on his journeys criss-crossing the vast former Soviet Bloc are something else entirely: whimsical, eccentric, flamboyantly artistic, audacious, colourful. They speak of individualism and locality, concepts anathema to the Communist doctrine. Herwig wants to know how this came to pass and tracks down some of the original unsung designers, but above all he wants to capture these exceptional roadside way stations on film before they disappear.