Rodez

A groundbreaking documentary on the internationally renowned painter, designated by ARTnews Magazine one of the world's top-ten living artists. This documentary was shot over a period of four years, from 1998 through 2002, Agnes Martin's ninetieth year. Interviews with Martin are inter-cut with shots at work in her studio in Taos, New Mexico, with photographs and archival footage, and with images of her work from over five decades. It is a venue for Martin to speak about her work, her working methods, her life as an artist, and her views about the creative process. She also discusses her film, "Gabriel" and reads from her poetry and lectures. In keeping with Martin's chosen life of solitude, she alone appears in the documentary.

Shortly after his mother’s passing, playwright and stage director Mohamed El Khatib receives a phone call from his uncle in Bab Berred, the family’s village in the Moroccan Rif, instructing him to come as soon as possible to collect his inheritance – mysteriously insisting that he should make the trip in a Renault 12. Coaxed by his father, El Khatib decides to make the journey from Orléans to Tangier. Structured like a road movie, Renault 12 is also the filmmaker’s quest to discover his own origins, in which he both documents chance encounters and stages situations to bring social, political, and cultural landscapes to light.

A young woman dancer with large, flowing robes, swirls round herself quickly, making her light robe flow around her like a butterfly's wings.

Two men in white leotards and tights, and black slips over it, wrestle on a theatre stage.

While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a farrier prepares a horse's hoof to receive a new shoe.

Men working at the shipyards of La Ciotat.

[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start.

A panorama of Coney Island, taken at night: the camera sweeps across the scene from a vantage point well above the area. It then moves in for closer views of Dreamland and Luna Park.

The inside story of SpaceX's plan to get humanity to Mars, providing an unprecedented glimpse into one of the world's most revolutionary companies. A behind-the-scenes journey with Elon Musk and his engineers as they persevere amidst both disheartening setbacks and huge triumphs to advance the space industry faster than we ever thought possible.

Luis Martinetti, a contortionist suspended from acrobatic flying rings, contorts himself for about thirty seconds. This is one of the first films made for Edison's kinetoscopes.

Vaudeville dancer Amy Muller performs a portion of her stage routine, which features dancing on her toes. She dances on one toe for part of the performance. Later, she also twirls and does cartwheels.

Two men have a contest to see which one can be the first to eat a large slice of watermelon.

"as work in progress: treasures found in the streams around me."

Safe places to view from.

Living in fragments, pieced together in varied ways, uncertainly, and yet... Inside there is a familiar chaos, awaiting a key...

Clouds roll by in a static haze.

New York City's various bridges transform into an urban jungle (jazz version) or an alien landscape (electro-acoustic version).

Francis Doublier does bicycle tricks in the street.

Lee Martin, one of the cowboy stars in 'Buffalo Bill's Wild West', rides a bronco as a crowd looks on. While the horse is trying to throw Martin off its back, another cowboy stands on top of a fence rail and occasionally fires his six-shooter, to spur on both horse and rider.

In the background, five fans lean on the ropes looking into the ring. The referee is to the left; like the fans, he hardly moves as two fighters swing roundhouse blows at each other. Mike Leonard, in white trunks, is the aggressor; in black, Jack Cushing stands near the edge of the ring, warily pawing the air as Leonard comes at him. A couple of punches land, but the fighters maintain their upright postures.