A documentary about a group of pilgrims who travel to Nepal to worship at the legendary Manakamana temple.
Columbus' 4th voyage has been a total failure: he has not found the westward passage, he has no gold to show, he has lost men and ships and his efforts to build a colony have fallen through. The monarchs of Spain are not going to restore the rights and privileges which were taken away from Columbus after the first voyage. And Columbus will be shamed. Many of his sailors who have survived, can't face the journey home. They will choose to remain on Hispaniola or neighbouring Puerto Rico.
When a Mongolian nomadic family's newest camel colt is rejected by its mother, a musician is needed for a ritual to change her mind.
I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.
Wege Gottes
The film describes the microcosmos of the small village Wacken and shows the clash of the cultures, before and during the biggest heavy metal festival in Europe.
Documentary on the civil rights activist, Viola Liuzzo, who was murdered in 1965 as she campaigned for black suffrage in Selma, Alabama, and its effect on her family.
“Finding Hillywood” is an inspirational film about the making of the Rwandan film industry and the power of film to change and heal individuals and communities. It tells the story of how a nation, still healing from the 1994 genocide, creates a film industry as both an outlet for the pain and a way to bring entertainment and a new industry to the population. Hillywood, which is named for Rwanda’s hilly terrain, is a traveling film festival that screens films made by, about, and for Rwandans. The festival goes from town to town, setting up public, outdoor screenings, on inflatable screens, to showcase Rwandan films.
Madame Ondine performs a serpentine dance surrounded by big cats.
Caught between two genders, the artist Eli Leven and Ester Martin Bergsmark touch and caress each other, while they bath together in clouds of steam. A persuasive voice-off describes the often hard and painful growing process, which led them to choose to be neither males nor females. But something else entirely. While memories of adolescences scarred by homophobia and discrimination are presented, the audience is also captivated by poetic evocations of bodies, of snowy woods, water, nature, and snails: the symbol of androgyny. This movie moves the audience profoundly. It is a hymn to sexual fluidity, which reveals the search for the true self, rendered through the use of contrasting, vivid, and often acid bright photography. Intended as a television portrait of the transgender artist Eli Leven, it is a psychedelic docu-fiction, a hybrid movie inspired by Derek Jarman's Sebastian.
A documentary about the three Woodstock music festivals.
Documentary showing the backstage of production of Samira Makhmalbaf's film Panj É Asr(At Five in the Afternoon), in Kabul, after the fall of the Taliban regime. Everything was recorded with a small digital camera by Samira's 14-year-old sister Hana.
Milan-based duo Yervant Gianikian and Angela Ricci Lucchi create an astonishing work of militant poetry with this found-footage chronicle of Mussolini's brutal invasion of Ethiopia.
Second in the series by the Maysles brothers documenting the monuments/sculptures of Christo, whose art projects are landscape-scaled, and more "pop" performance art designed to question how we relate to art in the public sphere, especially when it's as oblique, non-political (at least, that is what he would claim), and neutral as running a fence through a landscape.
The Maysles' third film about the artists sees them trying to get three projects off the ground: wrapping the Pont Neuf, the oldest bridge in Paris; wrapping the Reichstag; and surrounding eleven man-made islands in Florida with pink plastic sheets. As the latter is the only one that gets approval, it gets the bulk of this film.
Documentary about conceptual artist Christo and his wife Jeanne-Claude's attempt to "wrap" the Pont-Neuf in Paris.
The documentary is issueing the life of people being victims of the childrens "medical" department "Am Spiegelgrund". Victims and relatives of victims tell their problems handling memories that determines their life up the present days. The documentary is concentrated on the path of four persons to enable the viewers to get an impression of their memories. The victims stories are surrounded by statements of experts about the historical and medical background, among others: Elisabeth Brainin, doctor of psychiatrics, Wolfgang Neugebauer, chairman of the documentary archives of Austrian resistance, and Werner Vogt, medical doctor, who was engaged in a defamation court battle with Heinrich Gross (and aquitted in 1981). Dr Gross' trial started on March, 21 in Vienna. After one hour the judge adjourned the proceedings for an indefinite time, ruling that Dr. Gross was not mental fit enough to follow the trial.
In Les Portes d’Arcadie, we are at the heart of a reception center for asylum seekers. The director gives a voice to people persecuted because of their sexual orientation, in their country of origin. Already gone, but not yet in a new home, these displaced people are looking for themselves as much as they are looking for the words to describe what they have known and left behind. What awaits them? It is not certain. But at least they can hope to finally be (re) recognized for themselves. This crossing, as much as this quest for identity, is at the heart of this documentary.
Documentary depicting the lives of child prostitutes in the red light district of Songachi, Calcutta. Director Zana Briski went to photograph the prostitutes when she met and became friends with their children. Briski began giving photography lessons to the children and became aware that their photography might be a way for them to lead better lives.
“Nicky is seven. His parents are older and meaner.” A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children's games (like mumbledy-peg), personal experiences, and those of others. Throughout, Benning uses small toys as props and examples—handling and controlling them the way we are, in turn, controlled by larger violent forces.