Blogueirinha Entrevista: O Documentário

An exposé of comic proportions that only Chris Rock could pull off, GOOD HAIR visits beauty salons and hairstyling battles, scientific laboratories and Indian temples to explore the way hairstyles impact the activities, pocketbooks, sexual relationships, and self-esteem of the Black community.

Edie Bouvier Beale and her mother, Edith, two aging, eccentric relatives of Jackie Kennedy Onassis, are the sole inhabitants of a Long Island estate. The women reveal themselves to be misfits with outsized, engaging personalities. Much of the conversation is centered on their pasts, as mother and daughter now rarely leave home.

Pausa

The film tells the story of how a team challenged boundaries and traditions to transform the "Land of Grapes" into a stage for horror, proving that independent cinema thrives through community collaboration and perseverance.

Tom Six, creator of the notorious Human Centipede trilogy, having lived fourteen years with MS in private, sets out to document the end of his life after being unable to release The Onania Club, resulting in this hilarious fever-dream like-documentary feature (with actors) about the absurdity of existence, the film industry, his demise and the restrictions of artistic freedom. ‘The tortured artist is not a myth.’

A crew’s attempt to make a film about data centres descends into chaos, putting accepted truths about tech and documentary on the line in this hybrid docucomedy.

Bastidores do Altar - Ucrânia

Fluminense's historic Copa Libertadores campaign told by its protagonists. Behind the scenes of the conquest, from the tournament's debut to the top of America. An honor to remember forever.

A documentary about a small touristic village in Algarve, Southern Portugal.

10 January1946, the antennae of Camp Evans emit a short signal with very great power towards the Moon. A little more than two seconds later, they capture a slight echo. This was the first success for Project Diana, two years after its launch. Giving form(s) — in all the senses that this term may include — to what is invisible is at the heart of Simon Ripoll-Hurier’s practice. From amateur radio operator clubs to ghost hunters, from bird watchers to the drums that could send signals on battle fields, the challenge here is to successfully establish contact with a distant, absent being, by using much more mysterious means than those inhabiting our daily lives. So, although the machine appears in diverse forms, the challenge is probably more linked to the immaterial, to the silence or to the background noises that constantly disturb the efforts and attempts

After the passing of her mother, Lorena finds the diary that she kept all her life. The entries allow her to discover a different woman. Having grown up in the worship of her father who fought as a partisan during the war, Lorena realises that she must start digging in the secret story of her mother if she wants to understand aspects of her own life. The pages of the diary feel like a book from another time. Working as a nurse, her mother was covertly working for the partisans passing them intelligence that she astutely acquired from wounded German soldiers by administering more morphine than usually required to ease the pain.

Because of her age and fragile health, an old Russian lady has to share her apartment with her niece and four grandchildren. At every moment, the calm she enjoyed, her fine family keepsakes, and also her beloved piano, are in danger, under the impetus of the wild energy of the kids. The two worlds, forced into cohabitation, could not be more distant from each other: on one side, what remains of an affluent class, on the other, the “proletariat” as much in the literal sense as in the figurative one. A question hangs in the air: will the members of this family manage to find a place for each other in their hearts? This is a charming little documentary comedy, a one-room drama which, like a Russian story from the last century, is seen like a shadow of the world.

In the event of natural disaster, turn off electricity and gas, hide your valuable objects, lock the house, climb onto the roof, and maybe you will survive. Natasha, 12 years old, knows these instructions by heart. So, while waiting for the storm, she laughs and fights, suffers heartbreak, attempts to negotiate the purchase of a new swimsuit with her father. With zest and delicacy, with clear complicity with the body of her young heroine, Elizaveta Kozlova captures the details of a day-to- day life which, although ordinary, never seems insipid, so deeply is it infused with the contagious energy of the protagonist. And as the lines of contemporary Russian society and its problems are sketched out, In the Eye of the Storm reveals itself as the portrait of a character undergoing tremendous change.

A 1962 West German documentary film directed by Hermann Leitner and Rudolf Nussgruber.

4th installment to the Naughty Cadets series.

DEFA made several science fiction films that are hardly known today. These productions, called "utopian films" in the GDR, show astonishing technical achievements. ...Science fiction at DEFA was never a war of the stars, no alien invasion, but in most cases an establishment of contact with the alien via signals, a recurring plot motif. Communication instead of confrontation. These films provide information about the image of a coming socialist society, about expectations and hopes, and they were counter-images to the officially condemned Western SF art.

One extra in a film has to get slapped but he cant do it, so he goes to find someone for practicing the shot and his wife company him through it.

A street priest struggling to save his church learns his late uncle left him a small business that could turn his fortune around: he'll soon realize that said business is in fact... a brothel!