Toy

No Measure of Health profiles Kyle Magee, an anti-advertising activist from Melbourne, Australia, who for the past 10 years has been going out into public spaces and covering over for-profit advertising in various ways. The film is a snapshot of his latest approach, which is to black-out advertising panels in protest of the way the media system, which is funded by advertising, is dominated by for-profit interests that have taken over public spaces and discourse. Kyle’s view is that real democracy requires a democratic media system, not one funded and controlled by the rich. As this film follows Kyle on a regular day of action, he reflects on fatherhood, democracy, what drives the protest, and his struggle with depression, as we learn that “it is no measure of health to be well adjusted to a profoundly sick society.”

A tourist's view of Ontario, with magnificent visuals of the province's lakes and rivers, and a delicious hint of easy summer days, vacations, and boating. Viewers fish for salmon, idle their boats through the locks, and watch sailboats and steamships travel the Great Lakes against a background of granite rock and craggy coastlines.

A traveling trader provides a window into rural life in the Republic of Georgia, where potatoes are currency and ambition is crushed by poverty.

After Kosovo's independence the first internationally recognized sports federation was the one of Table Tennis. Two local Ping-Pong enthusiasts see this as a great opportunity and start self-financing the training sessions for young players.

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.

A quartet of refined elderly ladies gets together for coffee. Neatly dressed in houndstooth and pearls, they sip from elegant china and nibble on sweet cakes while discussing Viagra, cock rings, orgasms and quickies. Nothing's off the table as they reminisce about the past and revel in the sexual revolution that's come up around them, empowering their pleasure well into their twilight years.

La Belle Époque de Michel Ocelot

People tell what difficulties you might encounter when you want to renovate an apartment in Berlin.

A city symphony of kinetic movement in the concrete jungle. A cacophony of textures, layers and surfaces moving in unison and discord yearning for an open horizon.

Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket as a game, a craft, an interest of a people, a piece of history. The craftsmen are shown who make the ball and the bat–that ‘fourth straight stick’ with which the batsmen defend ‘the other three’. The craftsmen are shown who play the game, from W. G. Grace in the ‘nets’ to D. G. Bradman and Denis Compton in the thread of the ‘Test’. The history of the game is epitomized in the Long Room shots at Lord’s and from there the camera moves to the village green; to the London side- street where the urchins play on a ‘bumping pitch’; to South Africa, and India, where in the ‘blinding light’ there is often ‘an hour to play and the last man in.

Susana Barriga’s documentary, the illusion, begins with violence. A long shot reveals a man standing on a street corner, his features indiscernible in the night. He moves out of the camera’s line of vision, but the filmmaker, persistent, moves with him as the jostling of the camera marks her steps. As we learn moments later, the man in the distance is Susana’s father – and this is the clearest image of him we will have. Suddenly, an angry British man demands that Susana cease filming. Susana protests in heavily accented English, “He is my father!” Glimpses of a man’s torso are followed by blurred images as the camera spins rapidly over surfaces. The image cuts to black. A new male voice asks in carefully spaced out words if Susana would like him to call the police. When she doesn’t respond immediately, he speaks louder, as though volume would compensate for the language difference. She gives her name; she refuses the offer of an ambulance.

A group of punks is observed and interviewed on a square in Hamburg-Ottensen. In close-ups, characteristic details of the outward appearance of punks and their provocative behavior are presented. The reactions of passengers and the owners of surrounding stores are recorded; some act emphatically tolerant and understanding, others reject them...

Annika talks about her love for horses and her allergy that restricted her ability to ride a horse.

Ronald Reagan and Richard Nixon on Camera 1983

This is the story of my grandfather, Tiago Florit, who for 50 years was a film operator at the Teatre Principal de Maó, in Menorca. It is a review of his life, from his birth to his death, in a cinematographic key. A true love story to cinema.

A lyrical and nostalgic analysis of how Casablanca, the mythical film directed by Michael Curtiz in 1942, has influenced both film history and pop culture.

And urban planner's journey to making the impossible possible.

Is it okay to ride the subway without paying for the ticket?

A short tribute to American military veterans, made for the 2008 Democratic National Convention. It honors the service and sacrifice of U.S. troops and their families, and premiered on August 27, 2008, at the Pepsi Center in Denver, Colorado.

Biopic filmed in a single shot about the Majorcan musician Juanjo Monserrat.