The Number of Completion

Gonzalo Suárez: Sam Peckinpah, director salvaje (TV)

Filmed to praise the work of the Spanish Ministry of Housing in solving the problem of shanty towns in Bilbao, it was made to be viewed by General Franco and not for public screening or distribution through the NO-DO newsreel. Although the short film was commissioned by the Ministry of Housing, director Jorge Grau produced a subtly critical work.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Presents life in 18th century Spain as the painter Francisco de Goya showed it to us.

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.

This last testimony of Robert Kramer (1939-1999) is a moving documentary with the independent American film director, in which he speaks of his political activism, his way of filmmaking, his relationship with Portugal and the revolutionary movements.

In the face of AAPI violence, an intergenerational coalition of Black, Indigenous, Latinx, Asian, People of Color organizers come together to organize a march across historic Washington Heights and Harlem, as a continuation of the historic and radical Black and Asian solidarity tradition.

This colorful documentary chronicles the events of the 1968 Winter Olympics in France. The events made international celebrities of skater Peggy Fleming and skier Jean-Claude Killy for their gold-medal performances. The camera accurately catches the speed of bobsleds and downhill racers and ski jumpers as they race for the gold. President Charles DeGaulle is shown observing the action over 13 days, which saw France earn the best performance to date in the winter games.

The music producer Molécule stayed in a village in Greeland, where he recorded the sounds of the Artic to compose music. The viewer follows Molécule in his adventure in the extreme North, in a sensorial and musical immersion.

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.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Migrant families experience violence, but they also keep beautiful memories when they arrive in new lands. Fantastic and intimate stories, recalled from childhood, travel across time and space, magically intermingling with the help of the four elements and breaking the boundaries of cinema.

A strange and mischievous documentary on an archeological site in the Qaytarieh hills in Tehran. This short narrates the story of the dead people who wished never to be found.

Wales prides herself in her wealth of natural resources, foundries, mills, and factories. Beyond this modern facade lies another treasure—a rich historical background and ancient lore. The great granite fortresses still remain as reminders that from the struggle and strife was born a pure and distinctive national culture.

A look at the unrecognized work of the talented artists and craftsmen who've maintained the tradition of Japanese special-effects. Highlighted is Yasuyuki Inoue along with various crew members who crafted meticulously detailed miniatures and risked life and limb as suit actors. All done to bring to life some of film's most iconic monsters through a distinct Japanese artform.

6-18-67 is a short quasi-documentary film by George Lucas regarding the making of the Columbia film “Mackenna's Gold”. This non-story, non-character visual tone poem is made up of nature imagery, time-lapse photography, and the subtle sounds of the Arizona desert.

Alongside a passionate cast and crew, follow Walker Scobell, Leah Sava Jeffries and Aryan Simhadri as they step into worlds fit for gods, battle unforgettable creatures, and perform legendary stunts.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Through collected footage, this self-made documentary highlights the collaboration between Alessia and her producers during the making of her third album In the Meantime, offering fans an intimate glimpse into the making of the visual and the personal connection Alessia has to each track.

A promotional short for The Cincinnati Kid (1965) showcasing the card handling skills of magician and one-time gambler Jay Ose who was hired as technical adviser to instruct the actors on the techniques used by professional poker players.