John Grierson

Robert, an ex-shipyard welder from Govan in Glasgow, reflects on how his experiences have influenced his compulsion to write.

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.

A short film commemorating the 1927 doll exchange between the US and Japan organized by the Committee on World Friendship Among Children

On the 11th of August at 11 minutes past 11am, almost total darkness fell across Southern England and an eerie silence descended as the population gazed skyward at what was the last total solar eclipse of this millennium. A total solar eclipse is a breathtaking event and this documentary programme conveys that awesome feeling by exploring how and why eclipses happen. A mixture of computer-generated views from outer space, footage of eclipses throughout the 20th century (some taken as early as 1927) and original footage taken of this year's total solar eclipse (shot in Cornwall) make this programme a celebration of eclipse mania.

The idea for this film comes from the encounter with two African boys who live in Rome, and is based on their music. Tunisian Afif and Senegalese Aliou tell their different stories, talk about friendship, immigration, freedom and, above all, about the fundamental value of making music together.

Pereda returns with a small, mysterious and moving tribute to Chantal Akerman, conceived as a series of joyful impossible letters addressed to the great disappeared from the cinema, to answer her fictional question about renting her bright apartment in Coyoacán.

Sous le ciel bleu d'Arvida

This film was reconstructed and completed in 1995 by Javier Codesal for the Filmoteca de Andalucia, from the montage and the sound that Val del Omar had outlined before his death, after having returned to a project abandoned twenty years before with the incorporation of significant additions (above all in the soundtrack). Val del Omar's notes show that, as he typically did, he had other alternative titles in mind, such as "Acariño de la Terra Meiga" (Caress of the Magic Land), "Acariño a nosa terra" (Caress of Our Land), or "Barro de ánimas" (Clay of Souls), and that in the final phase of the unfinished project he wanted to add a second sound channel – following the diaphonic principle, and using electro-acoustic techniques – consisting of ambient material that he intended to record at the first screenings of the film in the very places and to the very people that were its origin: its "clay".

A short, experimental documentary featuring sculptures by Alonso de Berruguete and Juan de Juni. Shot within the Valladolid National Museum, the film is an excercise in what Val de Omar called "Tactile vision".

A short film that shows Boundless, Surreal objects that are juxtaposed with our present World. Cars, Motorways, noise of our modern society; A giant city in the distance - all that shrouds this lonely and forgotten island of Dreams. Filmed at the Emeryville Mudflats near San Francisco.

P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan Fisher" in which he describes the film "()." "Fisher's most recent film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of "inserts" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when star actors, large crews, or expensive sets were not needed. These include details of weapons, wounds, letters, signs, tombstones, machinery, games of chance, timepieces, money, and even intimate caresses.

A documentary about youth suicide on the Wind River reservation

The first childbirth for children film ever made which launched a sibling preparation movement across the US.

A documentary about the Friends of the Western Buddhist Order in London.

A compelling look at the choices that lead to incarceration and the reality of being locked up in Pelican Bay State Prison.

Explores the themes of trance and dance in the rituals and religion of Bali. The famous Kris Dance is performed.

An unknown observer is seen traveling through a bleak corridor. At the end of the corridor they see a naked woman, whom they are unable to reach as their trip seems to become increasingly twisted and looped.

The March, also known as The March to Washington, is a 1964 documentary film by James Blue about the 1963 civil rights March on Washington. It was made for the Motion Picture Service unit of the United States Information Agency for use outside the United States – the 1948 Smith-Mundt Act prevented USIA films from being shown domestically without a special act of Congress. In 1990 Congress authorized these films to be shown in the U.S. twelve years after their initial release. In 2008, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". (Wikipedia)

Every weekday, inmates are released from Huntsville State Penitentiary, taking in their first moments of freedom with phone calls, cigarettes, and quiet reflection at the Greyhound station up the block.

Rolling Stones – Hearts for Prague