Morir un Poco

Fulano de Tal

Documentary on Les Charlots, known as The Crazy Boys in the English-speaking world, a group of French musicians, singers, comedians and film actors who were popular in the 1960s, 1970s, and early 1980s.

A documentary on the restoration of Rogério Sganzerla's 1970 film "Copacabana, Mon Amour".

A short film made from photos of Boca do Lixo, a bohemian and marginal neighborhood, and its people.

A man living with his parents in a low middle-class apartment in Rio de Janeiro coldly stabs them with a razor and then goes to the movies. Marcia, a rich and dissatisfied young woman, takes advantage of a trip from her husband to go to her home in Petrópolis, where she receives a visit from an old friend, Regina.

After receiving a letter calling for a secret conspiracy meeting, a woman is mistaken for a controversial policy and kidnapped by a pair of revolutionaries with no money for Uber. The three end up living together and witnessing the end of the world, the alien invasion and military intervention together.

ANA C. uses videoart and videoperformance to express the relationship between the marginalized poet Ana Cristina Cesar with art itself.

Não matei ninguém e mesmo assim fui ao Cinema

Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.

MEDÉIA

Make it new John tells the story of the DeLorean car, its creator John DeLorean and the workers of the Belfast-based car plant who built it. The film deftly contrasts the DeLorean dream with its spectacular downfall during a critical period in Northern Ireland's history, and the canonisation of the car - the DMC12 - as a symbol of the American myth of mobility. As with the earlier works such as Bernadette (2008) and Falls Burns Malone Fiddles (2003), in Make it New John, Campbell fuses a documentary aesthetic with fictive moments, using existing archive news and documentary footage from the 1980s as well as new 16mm footage which imagines conversations between DeLorean factory workers. Campbell questions the documentary genre and reflects here on broader existential themes and narrative drives.

Why did Milos Forman have to make certain films the way he did? Where does his inner strength come from? What is the story of his life?

Alone, 180 Days on Baikal Lake

Before its economic decline, Detroit was a major metropolis. Now, in the 2000s, the young people of the Motor City are making it their own DIY paradise where rules are second to passion and creativity. Johnny Knoxville tours the city to meet some of the people who are creating a new Detroit on their own terms, against real adversity.

Bruce Brown's The Endless Summer is one of the first and most influential surf movies of all time. The film documents American surfers Mike Hynson and Robert August as they travel the world during California’s winter (which, back in 1965 was off-season for surfing) in search of the perfect wave and ultimately, an endless summer.

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.)

Megacities is a documentary about the slums of five different metropolitan cities.

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

A detailed chronicle of the famous 1969 tour of the United States by the British rock band The Rolling Stones, which culminated with the disastrous and tragic concert held on December 6 at the Altamont Speedway Free Festival, an event of historical significance, as it marked the end of an era: the generation of peace and love suddenly became the generation of disillusionment.

Primary is a documentary film about the primary elections between John F. Kennedy and Hubert Humphrey in 1960. Primary is the first documentary to use light equipment in order to follow their subjects in a more intimate filmmaking style. This unconventional way of filming created a new look for documentary films where the camera’s lens was right in the middle of what ever drama was occurring. Preserved by the Academy Film Archive in partnership with The Film Foundation in 1998.