Francis Kee Teller plays Son of the Hunter, a young Navajo boy who is separated from his family so that he may be given his government-dictated mandatory education. Disdaining the “white” world, Teller runs from his instructors. The two tenderfeet find themselves in a perilous situation, from which the savvy Teller must rescue them.
In this masterpiece of contemplative cinema by Spain’s Víctor Erice (The Spirit of the Beehive), the painter Antonio López attempts, as he has many times before, to capture the play of light on the leaves of the quince tree in his garden, and discovers something eternal in the process.
On 31 January 1977, the Centre George Pompidou opened its doors to the public in Paris. Three months later, on 6 May, Roberto Rossellini wrapped up the editing of a 54-minute film that testified to the public’s response to the project. The great Neo-Realist filmmaker was proposed by Jacques Grandclaude, spreadhead of the Communauté de Cinéma, to the French Ministry of Foreign Affairs to celebrate the opening of the building designed by Renzo Piano and Richard Rogers.
Produced by the Municipality of Copenhagen and the Port of Copenhagen Authority the film draws with self-irony a frank and informal picture of the Danish capital, laying stress on the poetry to be found in the picturesque details of ordinary everyday life in the streets, the harbour, the social institutions, the amusement parks etc.
William Miles, acclaimed visual historian of Harlem, lovingly renders an epic telling of the community’s 350-year history as the cultural hub of African American life. Extending from the late 17th century to the early 1980s, the film registers the socioeconomic shifts and challenges of the late 20th century, also chronicling the momentous experiences of Civil Rights activism and the legacy of the Harlem Renaissance.
When his daughter Johanna is born in 1983, Jan Troell tells the story about his childhood in Sweden and how things where when he grow-up in the land of fairy tales and potential prosperity.
Rate It X is a bitingly funny and disarming journey through the landscape of American sexism. Men only are interviewed by the two filmmakers in a witty montage of free-wheeling encounters. Pornographers, corporate executives, a funeral parlor director and Santa Claus are among those who reveal more than they intended. A surprisingly candid view of men’s feelings towards women 15 years after the birth of the women’s movement.
Co-directed by Godard with the Dziga Vertov group in 1969, ‘Pravda’ is a direct attack to revisionism and socialist imperialism. With his usual heterogeneous collage of images taken from real life, the film is structured in a sort of letter that a man writes to a woman called Rosa from Bulgaria and later from Czechoslovakia.
