How to Blow Up a Helicopter (Ayako's Story)

An isolated village in the Lithuanian countryside. Seated in her house, an elderly woman recites an old folk story. Then she climbs up the tall ladder that takes her to the rooftop of the church.

In 1967, de Andrade was invited by the Italian company Olivetti to produce a documentary on the new Brazilian capital city of Brasília. Constructed during the latter half of the 1950s and founded in 1960, the city was part of an effort to populate Brazil’s vast interior region and was to be the embodiment of democratic urban planning, free from the class divisions and inequalities that characterize so many metropolises. Unsurprisingly, Brasília, Contradições de uma Cidade Nova (Brasília, Contradictions of a New City, 1968) revealed Brasília to be utopic only for the wealthy, replicating the same social problems present in every Brazilian city. (Senses of Cinema)

A 10-minute portrait of modernist poet and de Andrade’s godfather, Manuel Bandeira, is clear in its affection for it subject, though like many New-Waveish films of the time, depicts the modern urban landscape as an ominous and alienating force.

Documentary about influential Brazilian sociologist Gilberto Freyre, made in his country house in Apipucos, Pernambuco (Northeast Brazil).

A batch of mushy sourdough. Two radioactive lizards. Three cans of Campbell’s tomato soup. When COVID-19 lockdowns began in 2020, people around the world began reporting more vivid dreams.

Africa, a trans woman dedicated to musical representation and comic entertainment on Facebook exhibits her daily life through live broadcasts, having success and a large influx of viewers. This while she is getting ready for her special program in honor of her best friend Vicenta de Loris, since a year has passed since her life was taken from her.

Short combining fiction and documentary.

Images, voices, and interrupted silences that evoke the intangible losses caused by COVID-19.

To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film.

Elem Klimov's documentary ode to his wife, director Larisa Shepitko, who was killed in an auto wreck.

A set of seven portraits consisting of personal accounts from the lives of gays and lesbians. The narration includes stories about coming out, bashing, cross-dressing and AIDS.

Second part of a three-part documentary series on the making of Once Upon a Time in the West, Italian filmmaker Sergio Leone's masterpiece, released in 1968. (Preceded by An Opera of Violence; followed by Something to Do With Death.)

Third part of a three-part documentary series on the making of Once Upon a Time in the West, Italian filmmaker Sergio Leone's masterpiece, released in 1968. (Preceded by The Wages of Sin.)

A retrospective documentary of the cult classic movie The Goonies. Including interviews with the cast, exploration of the film's locations and unique stories you wont hear anywhere else.

Big shot presenter Hugo mills (that's what he thinks anyway) embarks on a journey to uncover the dark underworld of amateur detectives and finds more than what he bargained for in this mockumentary short.

An 18-minute silent documentary on the making of the 1931 Abel Gance directed film, "La Fin Du Monde".

Glauco Mattoso, a blind sadomasochistic poet, agrees to participate in a documentary about his own life, but the conditions he imposes raise difficulties to the work of the young director.

Plotless and wordless, beautifully edited shots of young (often naked or semi-naked) people in various positions, illustrating different emotions, actions and situations, underlined by rock music.

This documentary film is about one of Georgia's regions - Racha. The title of the film is taken from the name of one of Racha's high mountain villages. It tells about the poorest in society living in the mountains and the rise of the SSSR. The product of a remarkable collaboration between the first Georgian female filmmaker and the leading Georgian avant-garde artist David Kakabadze.

Nishika 3D cameras were the inexpensive cousins to the Nimslo 3D cameras made in the mid to late 1980's (the Nimslo cameras used glass lenses, while the Nishika ones used plastic lenses). The cameras used regular 35mm film that captured 4 simultaneous images onto 2 frames of film. These images were printed onto photo stock with a lenticular surface bonded to it which allowed 3D to be seen without glasses, like the old kids story books with the 3D covers. The basic 3D camera kit came with this VHS instructional video that was hosted by Vincent Price. It was one of the last things he did.