A Trip to Paramountown

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

The film director, Carol Reed, is the subject of this documentary short. The illegitimate son of the famous stage actor, 'Sir Herbert Beerbohm Tree' , Reed was brilliant with actors, especially child actors, making him the perfect person to bring Oliver! to the screen. Reed is best known for three films he made in the late 1940s, and the documentary offers generous clips from Odd Man Out, The Fallen Idol, and the most famous of all, The Third Man. The film director, John Boorman, the assistant director, Guy Hamilton, the actors, Ron Moody and Bryan Forbes and the cinematographer, Oswald Morris, are among the interviewees.

Pontormo and Punks at Santa Croce

Severo

Poslední revoluce

Cesta za tancem

The Name of this Film is Dogme95 is an irreverent documentary exploring the origins of Dogme95, the most influential movement in world cinema for a generation. The film tells how a 'brotherhood' of four Danish directors armed with a radical Manifesto, has inspired, outraged and provoked filmmakers and filmgoers the world over. The rules of Dogme95 take filmmaking back to its brass-tacks - stories must be set in the here and now; the films must be shot on location, with a handheld camera, using natural light, and direct sound; the rules forbid murders and weapons (staples of the much-loved action-movie genre); and, most amusingly, the director must not be credited (that holds also for the director of The Name of this Film is Dogme95...).

A fictional documentary that portrays the city of Dakar, Senegal, as we hear the conversation between a Senegalese man (the director, Djibril Diop Mambéty) and a French woman, Inge Hirschnitz. As we travel through the city in a picturesque horse drawn wagon, we chaotically rush into this and that popular neighborhood of the capital, discovering contrast after contrast: A small African community waiting at the Church's door, Muslims praying on the sidewalk, the Rococo architecture of the Government buildings, the modest stores of the craftsmen near the main market.

Behind the scenes of shooting in various notoriously difficult locations, including interviews with producers and lead actors.

Tommy’s Train is a story about imagination, drive, and the power of a dream. Once existing as a tourist attraction in the city of Anacortes, Washington, Tommy Thompson’s Railway ran every summer from 1987 until 1999. The genuine steam locomotive and coaches were all hand built by Tommy in his garage workshop, and he maintained and operated the railway with his family.

Short combining fiction and documentary.

A series of ten shots, three minutes in length, of various locales in Munich.

Short discussion between two friends about a strange man they used to know.

In Natpwe, the feast of the spirits, co-directors Tiane Doan na Champassak and Jean Dubrel have produced an immersive, seemingly timeless document of an annual Burmese trance ritual that dates back to the eleventh century. Shot in Super 8 and 16mm in sooty black and white, the film conveys the astonishing sense of liberation of tens of thousands of bodies and minds — a mass expression of faith, but also a rapturous respite from societal intolerance.

The vertiginous progress of modernity has caused the spaces that humanity previously inhabited, now remain forgotten.

Twenty-five films from twenty-five European countries by twenty-five European directors.

40,000 years in the making: Kogonada's video essay created for The Connected Series.

Barcelona, Spain, June 1977. A chronicle of a demonstration held to demand the repeal of a 1970 Francoist law criminalizing homeless, prostitutes and homosexuals.

In Mexico, a country where indigenous people are increasingly displaced and discriminated against, Lupita, a survivor of one of the worst massacres in the country’s history, finds her voice in a movement led by indigenous women. The film intimately follows Lupita, a Tzotzil Maya woman, as she takes on the responsibility to be the spokeswoman of her people. Part lyrical testimony, part tribute to 500 years of indigenous resistance, this film mediates the point-of-view of a brave woman who must balance the demands of motherhood with her high stakes choices to reeducate and restore justice to the world.

Un viernes santo