Die Serpentintänzerin

From the rains of Japan, through threats of arrest for 'public indecency' in Canada, and a birthday tribute to her father in Detroit, this documentary follows Madonna on her 1990 'Blond Ambition' concert tour. Filmed in black and white, with the concert pieces in glittering MTV color, it is an intimate look at the work of the icon, from a prayer circle before each performance to bed games with the dance troupe afterwards.

Filmed in IMAX, a team of explorers led by Pasquale Scaturro and Gordon Brown face seemingly insurmountable challenges as they make their way along all 3,260 miles of the world's longest and deadliest river to become the first in history to complete a full descent of the Blue Nile from source to sea.

A big-screen look into one of America's most successful entertainment industries, NASCAR racing.

12,000 feet down, life is erupting. Alvin, a deep-sea mechanized probe, makes a voyage some 12,000 feet underwater to explore the Azores, a constantly-erupting volcanic rift between Europe and North America.

Alaska... Here, in this vast and spectacularly beautiful land teeming with abundant wildlife, discover the "Spirit of the Wild." Experience it in the explosive calving of glaciers, the celestial fires of the Aurora Borealis. Witness it in the thundering stampede of caribou, the beauty of the polar bear and the stealthful, deadly hunt of the wolf pack.

Explore the mysterious Amazon through the amazing IMAX experience. Amazon celebrates the beauty, vitality and wonder of the rapidly disappearing rain forest.

The Academy Award® nominee Cosmic Voyage combines live action with state-of-the-art computer-generated imagery to pinpoint where humans fit in our ever-expanding universe. Highlighting this journey is a "cosmic zoom" based on the powers of 10, extending from the Earth to the largest observable structures in the universe, and then back to the subnuclear realm.

Film historians, and survivors from the nearly 30-year struggle to bring sound to motion pictures take the audience from the early failed attempts by scientists and inventors, to the triumph of the talkies.

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.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

With the coveted glitter ball trophy once again up for grabs, how will series winner Chris Hollins fare against other celebrity favourites - including Austin Healey, Kelly Brook, Mark Ramprakash, Ali Bastian, and Natalie Cassidy? As they take to the stage alongside their professional partners including; Kristina Rihanoff, James and Ola Jordan, Brian Fortuna, Natalie Lowe and Ian Waite, in brand new breathtaking outfits and daring routines. They will need to impress judges; Len Goodman, Bruno Tonioli, Craig Revel Horwood and Arlene Philips. Who as always, are ready with quips, banter and razor-sharp observations!

Alone, Eva Fahidi returned home to Hungary after WWII. At 20 years of age, she had survived Auschwitz Birkenau, while 49 members of her family were murdered, including her mother, father, and little sister. Today, at age 90, Eva is asked to participate in a dance theatre performance about her life's journey. This would be her first experience performing on a stage. Reka, the director, imagines a duet between Eva and a young, internationally acclaimed dancer, Emese. Reka wants to see these two women, young and old, interact on stage, to see how their bodies, and stories, can intertwine. Eva agrees immediately. Three women - three months - a story of crossing boundaries. Whilst the extraordinary moments of Eva's life are distilled into theater scenes, a truly wonderful and powerful relationship forms among the three women.

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.

A documentary film that highlights two street derived dance styles, Clowning and Krumping, that came out of the low income neighborhoods of L.A.. Director David LaChapelle interviews each dance crew about how their unique dances evolved. A new and positive activity away from the drugs, guns, and gangs that ruled their neighborhood. A raw film about a growing sub-culture movements in America.

The intimate life of the mythical Candy Dubois, from her childhood in a correctional facility to her success with the "Blue Ballet" in the great "BIM BAM BUM".

A portrait of the day-to-day operations of the National Gallery of London, that reveals the role of the employees and the experiences of the Gallery's visitors. The film portrays the role of the curators and conservators; the education, scientific, and conservation departments; and the audience of all kinds of people who come to experience it.

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

A love story, portraying the dilemmas and inevitable consequences of ambition. It is a film about a woman's fight for independence, a woman trying to succeed with her own art in the extremely competitive world of dance.

Although at first sight this might look like a simple ‘making of DANCER IN THE DARK’, the later developments in the film reveal the whole drama of Lars von Trier’s inner life during the shooting process. All his doubts and insecurities in collaborating with the crew and actors - especially actresses - are exposed. The biggest drama started when Björk walked off the set. Nobody knew whether she would be back or not. Admitting that he feels threatened by women, who can ‘make him feel embarrassed’, the director gives this documentary the nature of a personal diary. When he discusses the importance, purpose and beauty of the use of a hundred cameras in a certain sequence or the meaning of the Dogma 95 rules, the audience is witnessing the process of the artist’s search. Is the pain that the director went through during the shooting really visible in the final result, as Lars von Trier claims in this film? (from: http://www.idfa.nl/)