David and Albert Maysles directed this cinema-verite portrait of Joseph E. Levine, the blustery producer and distributor whose works ranged from the sublime (Long Day’s Journey Into Night, Contempt and Carnal Knowledge) to the ridiculous (The Carpetbaggers and Santa Claus Conquers The Martians).
Documentary depicting Hitler’s last offensive in 1944 in the Ardennes, with which he desperately tried to stop the allies thereof, to reach Antwerp.
Chronicles the life and art of Henri Matisse (1869-1954), the French painter whose innovative style and use of color changed the face of 20th-century art.
Inspired by Susan Sontag’s well known essay ‘Notes on Camp’, as well as the very successful rerelease of the 1943 serial Batman, The Movie Orgy is a mind-boggling patchwork of 50s, 60s and 70s television and cinema, conceived by Joe Dante as a film student in Philadelphia.
A portrait of Papua New Guinea, a society clutched by Australian colonialism and hovering uneasily between its head-hunting past and Western civilization, at the time of the nation’s independence festivities.
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.
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.
Footage from three distinct visits to the home of Jerome Hill make up this tribute to him. Mekas visited Hill in 1966 with P. Adams Sitney. He then returned briefly in 1967 and again after Hill’s death in 1974. This elegy is dedicated to Hill, who may have felt as much an exile as Mekas did. Music performed by Hill, Taylor Mead, Charles Rydell and others makes up the soundtrack.