Boulevard! A Hollywood Story

A cinephile collage, both historical and philosophical, of films on artificial intelligence, cyberspace and virtual reality, from 1981 to 2001: cinema as a way and an instrument to cope with humanity's euphoria, anxiety, fear and obsession with technology.

The order comes in the summer of 1941 from propaganda minister Joseph Goebbels himself: The best animators are summoned to Berlin. Their task: Producing feature-length cartoons in ‘Disney-Quality’ with the newly founded ‘Deutsche Zeichenfilm GmbH’. To get trained, the Disney movie “Snow White” is re-traced frame by frame. After the final victory, one new feature-length production of quality shall be released every year from 1947 onwards. – that is the plan. Only in 1943, the first production is completed: “Armer Hansi” a 17-minute-long colour movie, realized with the effortful Multiplane-technology. The second film by the ‘Deutsche Zeichenfilm’ is only completed in 1946 – by DEFA. In the territories occupied by Germany, cartoons are produced as well, sometimes harmless ones, sometimes propagandistic ones. With excerpts from animated movies, life-action film documents, and witness reports by contemporaries, this documentary draws a picture of the cartoon production in the third Reich.

Legendary Spanish actor and director Jacinto Molina, also known as Paul Naschy, tells the mythical story of Waldemar Daninsky, the cursed werewolf, his most iconic character; a relationship that began in 1968.

A documentary on the life and career of Victor Fleming, director of such iconic movies as The Wizard of Oz and Gone with the Wind.

Likely in June 1897, 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.

Ridley Scott's cult film Blade Runner, based on a novel by Philip K. Dick and released in 1982, is one of the most influential science fiction films ever made. Its depiction of Los Angeles in the year 2019 is oppressively prophetic: climate catastrophe, increasing public surveillance, powerful monopolistic corporations, highly evolved artificial intelligence; a fantastic vision of the future world that has become a frightening reality.

Spain, 1960. French student Monique Roumette lives in Madrid on a scholarship. Thanks to a friend who works in the production company Uninci, she has the privilege of attending the shooting of Viridiana, a film directed by Luis Buñuel.

A look at the life, work and importance of Czech filmmaker Karel Zeman (1910-89), a genius of world cinema, a wizard of special effects, revealing his sources of inspiration and his revolutionary filming techniques.

What was the role of women in Spanish cinema from the 1930s to the present explained through fragments of different films, both fiction and non-fiction. (Followed by “Manda huevos,” 2016.)

A journey of years through many countries and film festivals; a nostalgic, adrenaline-fueled and rock-spirited immersion into the universe of cinephilia, in search of genre specialists, fans and filmmakers who speak of their shared passion for fantastic cinema; a whole international spiritual community united under the cathartic shadow of horror.

Four lives that could not be more different and a single passion that unites them: the unconditional love for their cinemas, somewhere at the end of the world. Comrades in Dreams brings together six cinema makers from North Korea, America, India and Africa and follows their efforts to make their audiences dream every night.

The story of French filmmaker Jean Rollin (1938-2010), one of the most singular voices of European cult cinema, deeply misunderstood and widely misrepresented.

This documentary revisits the making of Gone with the Wind via archival footage, screen tests, insightful interviews and rare film footage.

At the beginning of the 1960s, when the French pioneers of cinéma vérité set out to achieve a new realism, and when direct cinema in Québec began to vie for notice, the Baltics wit-nessed the birth of a generation of documentarists who favored a more romantic view of the world around them. This meditative documentary essay – from a Latvian writer and Lithuanian director whose composed touch has long dovetailed with the stylistically diverse works of the Baltic New Wave – pushes adroitly past the limits of the common his-toriographic investigation to create a portrait of less-clearly remembered filmmakers. The result is a consummate poetic treatment of the ontology of documentary creation. Also a cinematic poem about cinema poets.

Counter Shot: Departure of the Filmmakers

Probably filmed in 1895, a group of people stand along the platform of a railway station in La Ciotat, waiting for a train. The train pulls up and attendants help passengers off and on. This was not in the Lumière's official catalog, and was likely screened in early 1896. This film is often misidentified on Youtube as "L'Arrivée d’un train à La Ciotat", which is the title of the 1897 remake.

Italy, 1970. An increasing legion of harmless warriors begins a peaceful struggle for sexual freedom through pornography, shaking and shocking religious authorities and conservative political institutions. They are ironic, happy, crazy. They are dreamers, defenders of definitive communion between body and soul. But they were censored and humiliated. They were mistreated and arrested for demanding loud a new cultural renaissance.

Omnibus: François Truffaut

Cinecitta is today known as the center of the Italian film industry. But there is a dark past. The film city was solemnly inaugurated in 1937 by Mussolini. Here, propaganda films would be produced to strengthen the dictator's position.

Several high-budget epic films became Omar Sharif (1932-2015) a film star. He was an actor, but also a bridge player, a womanizer, a bon vivant; he was a man full of contradictions, who enjoyed card games more than movies; he was an eternal nomad who spent half his life in a hotel.