Paris exposition films

An overview of the best methods and techniques for taking nude photographs.

Here's a strange one. First, a song on a blackboard: a Polish translation of “I love my little rooster” by American folk writer Almeda Riddle. Then, two men roll around trash bins and lift them to the garbage truck. They do it several times. A woman shouts in the distance. At the end, the picture stops, and the woman sings the song. An early short by Piotr Szulkin.

Jean Vigo : le son retrouvé

L'album de famille de Jean Renoir

Gitanos sin romancero

Fritz Lang, le cercle du destin - Les films allemands

Le Théâtre National Populaire

Cinéastes de notre temps : Erich von Stroheim

Cinéastes de notre temps : Jean Vigo

Filmmakers of Our Time: François Truffaut or the Critical Spirit

Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.

Children get ready to start the first grade. They start learning the first letters.

The documentary tells the story of Uschi, a farmer living free and recluded in the bavarian alps. Shot in epic black and white pictures, Still follows Uschi's life over a ten year period. From an untroubled summer of making cheese through pregnancy and the uncertain future of the parental farm, Matti Bauer portrays Uschi's struggle to keep alive the dream of a way of life that has become rather untypical in this day and age.

A discussion of the economic and political ideas presented in the book "The Incredible Bread Machine".

A documentary chronicling the pioneering efforts of black filmmaker William D. Foster in the early years of the industry and Oscar Micheaux's controversial impact on the subsequent "race movies".

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.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)

Dialogue-free short detailing the daily tasks of a man and his wife.

Cautivos en la arena