L'homme Panache au Yukon 4

Sixteen-year-old Jewel Wilson is the next generation in a long line of prolific Inupiat subsistence hunters in Unalakleet, Alaska. Her ability to hunt moose is hindered by two pressing issues – scarce wildlife and the pressures of high school life. Finding sufficient food competes with track practice and homework in Jewel’s multilayered world. Along with her father, Jewel turns to the land to feed their family and finds that their village’s way of life is endangered by the same environmental shifts that could affect us all. In hunting moose, we see that Jewel is also hunting for answers. How will her village survive if subsistence hunting is threatened? Can she honor the traditions of her Elders while navigating the pressures and anxieties of a modern, connected teenager? "Jewel’s Hunt" proves to be both physical and philosophical in this insightful exploration of what it means to come of age in complicated times in Unalakleet, Alaska.

L'Homme Panache au Yukon 10 - Chapitre Final

L'homme Panache au Yukon 1

L'Homme Panache au Yukon 2

L'Homme Panache au Yukon 7

L'Homme Panache au Yukon 3

L'Homme Panache au Yukon 8

L'homme panache au Yukon 5

L'Homme Panache au Yukon 9

L'Homme Panache au Yukon 6

Goofy (front) and Donald (rear) are dressed in a moose suit, trying to lure moose for hunter Mickey. When they do find one, it turns out to be more than they can handle.

Donald is inspired by the spirit of his forefathers to take up a gun and go hunting for his food.

When the hunter arrives for this year's moose hunt, a young woman who is new to the hunting team is introduced. He watches her during the hunt and then he steps into action.

When two moose find tracking collars on their necks, they think they are dog collars and try to find an owner.

A big-game hunter travels to Malaya to help stop the Nazis and Japanese from destroying the rubber industry.

A city teen travels to Montana to go hunting with his estranged father, only for the strained trip to become a battle for survival when they encounter a grizzly bear.

Evil poachers killing rhino’s who turn to butchering humans instead, blah, blah, blah... Deon Stewardson kills the main villain in a fight at a taxidermists workshop - impaling him on, wait for it, wait for it... a rhino horn!

[On Set with] Lilly Reich explores the contextual limitation of the profession and the recognition, under conditions of equality, of the work of Lilly Reich, a pioneering woman of the Modern Movement.

Lothar König is an original. The long-term youth pastor from Jena doesn’t fit into any system. In the GDR he was under state surveillance, after reunification he was one of the most tireless warning voices against the growing right-wing radicalism. To this day, he takes to the barricades against the extreme right, often on the frontline. Nevertheless, this film portrait by his son Tilman is not an homage but a critical tribute to an outspoken character forced by retirement to re-invent himself.

DON’T SHOOT THE COMPOSER is far from an ordinary profile of Georges Delerue. It also serves as a calling card for Ken Russell, whose work would define the 1970s as Delerue’s did in the 1960s. It begins with a sly work of pastiche, parodying the conventions of French noir. It goes onto encompass slapstick, verité scenes of the Delerue family and a harrowing montage of the Vietnam War. This eclectic approach gives us a sense of the different facets of Delerue’s life- his love of cinema, his home life, his work ethic. It also prefigures Russell’s feature length biopics of Mahler and Liszt, though in a more modest- and lucid- fashion.