Paparazzi

Documentary on various aspects of Kuwaiti life, the contrasts between a backward society that lives in the desert and a very modern society that lives in the city.

Manon de Boer films the dancer Cynthia Loemij, who improvises to Eugène Ysaÿe’s 3 Sonates for Violin Solo.

During his adventure in Mexico, Sergei Eisenstein made footage of a Mexican "Death Day" celebration for inclusion in his "Que Viva Mexico!" film project. When the 200,000-plus feet of film he eventually exposed in Mexico was first attempted to be made into a feature film, "Thunder Over Mexico", the producers excluded the Death Day material for subsequent compilation as an independent short subject. Silent with music track and explanatory English intertitles.

Documentary about the universe and the craft of popular photographers who work at parties, fairs and pilgrimages in the northeastern interior of Brazil.

An audiovisual snow storm in front of a black ground, a white horizontal line that divides the image, grid planes, unfolding and folding dimensions. Set to atonal, techno, and orchestral sounds; an abstract (non-)world beyond comprehension, a visual experience that one must intuitively sense. Lost in space and time – the big bang of consciousness

A documentary about American film director Budd Boetticher

In this new program, choreographer Twyla Tharp remembers her collaboration with Milos Forman on Hair and explains how the entire project was put together.

in this new program, editors Lynzee Klingman and Stanley Warnow remember how they were given the opportunity to work on Hair and discuss the type of work they did to meet Milos Forman's requirements for the film.

in this new program, production designer Stuart Wurtzel recalls his initial encounter with Milos Forman and their professional relationship during the production of Hair.

In this new program, James Mangold (Cop Land, 3:10 to Yuma) discusses the enormous impact Milos Forman had on his maturation as a filmmaker.

Argemira

An Eternalism film.

Since the 1930’s, sound gurus referred to as Foley artists have recreated the sounds that infuse a film with life. During a film’s post-production, Foley artists recreate sound that will match the moving image on-screen, using whatever objects are at their fingertips, from hundreds of pairs of old shoes to clunky old tools and squeaky mattresses. But how will Hollywood’s low-tech sound artists survive as digital technology consumes modern movie-making?

Informed by an underlying sense of anxiety and anguish, Michael Robinson’s Polycephaly in D nestles fragments of narrative within a collage of sound, image, and text that oscillates between the elegant and the discordant.

Erika Blanc self-reflectively narrates her descent into Italian genre cinema while she hyperbolically playacts in the woods.

Pestilent City covers Manhattan from South to North, from Times Square to Harlem, finding along the way ever more poverty, violence, rage and tragic drunkenness.

Although it was actually an impersonal commissioned film, the director's style is clearly recognizable. Once again he manages to make something that is normal very strange: the dancing people in costumes are filmed in such a way that they look bizarre and absurd. Jan de Bont's camerawork shows a series of color images of dancing people, edited to the rhythm of the music. Halfway through the film, a lonely clown can be seen among the dancing crowd, accompanied by sad music. This clown is played by Ditvoorst himself.

Amateur taxidermist, Walter Potter, became an unlikely success by putting his creatures in human positions and scenarios, referred to as anthropomorphic taxidermy. Potter's Museum, filled with his creations and collection of oddities and curiosities dazzled millions for over a hundred years until the collection's unfortunate separation in 2003. While largely about the man and his creations, the film also takes a look at the obsessive nature of collecting, as well as the controversial history of stuffing dead animals.

A symphony of found footage scenes, each shot loosely connected to the one before.

Kurt Vonnegut, Jr., discusses his development as a writer, including references to some of his major novels, his themes and their meaning, his relationship to other writers, problems in sustaining his special vision of American life, and his future. Accompanied by photographs that chronicle the author’s life and selections from home movies taken during his youth.