Reconstruction of the state’s massacre of Bolivian tin miners that took place on ‘The Night of San Juan’ in 1967 in an attempt to break the re-organization of the radical left. The film uses the miners themselves to act out the reconstruction.
Mourir à Madrid brings together several papers on the Spanish Civil War and integrates capturing different points of view, intended to represent the continuity of the suffering of the Spanish during the Franco regime. The death of Federico Garcia Lorca, Guernica, the defense of Madrid, the International Brigades, are some of the items comprised in this documentary.
The Soviet General Vlasov remains one of the most intriguing, yet least known figures of World War II. In 1942, the German war machine had come to a halt near the Russian city of Leningrad. The Russian Second Assault Army, led by General Vlasov, fights itself to death in an effort to break the German siege. Their general is captured and later defects to the Germans. In ANGELS OF DEATH we experience the fate of General Vlasov’s army as we hear the personal accounts of those who died in the massacre through their poems, letters and photographs.
In the late Spring of 1970, nationwide protests against the war in Vietnam focused in the Wall Street area of New York City and ultimately in a major anti-war demonstration in Washington, D.C. A group of New York University film students documented the demonstrations as they happened in both cities. The extended final scene is a spontaneous conversation among Martin Scorsese, Harvey Keitel, Jay Cocks and Verna Bloom who, along with a large group of NYU students, found themselves frustrated and perplexed by the events and hopeful that the protests would result in change.
A presidential advisor discovers that the President has assembled a secret army of vigilantes to suppress dissent and is setting up concentration camps in which to imprison protesters, hippies and other “social undesirables.”
A love story between a French student and a Greek intellectual in France. Varda calls the film “a settling of accounts” with the “fascist” government that the Greeks Colonels have established there. Altough commissioned by the ORTF (French National Television) the film was not aired and all material was destroyed (presumably for political reasons, Varda’s best guess). All material except for a workprint kept by the Cinémathèque Royale de Belgique, which made possible a reconstruction of the film, presented here.
In this war drama blurring the lines between documentary and fiction, the working class and the bourgeoisie of 19th century Paris are interviewed and covered on television, before and during a tragic workers’ class revolt.