This film documents the determination of a group of ordinary women from Boise, Idaho who banded together to influence national public policy and foreign relations by developing a tangible and enchanting expression for their desire for peace: the National Peace Quilt.
Category: Documentary
A documentary film about a boys school in Iran. The film shows numerous, funny and moving interviews of many different young pupils of this school summoned by their superintendent for questions of discipline. The man is not severe, but clever and fair. He teaches loyalty, fellowship and righteousness to these boys. Besides these interviews, we see scenes of this school’s quotidian life.
Photographed by an all-female crew and directed by the author of Sexual Politics, these are autobiographical interiews with three very different women who talk frankly about their lives, conflicts, and contrasting life styles.
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Taking the visual worlds of famous painter Niko Pirosmani (1862–1918) as his starting point, Parajanov evokes, reflects on and shows his great appreciation for the artistic universe of the Georgian artist, his still lives, portraits and genre scenes. A surrealistic and phantasmagorical essay.
Tracing anti-U.S. sentiment as it builds in Latin America, the film juxtaposes the candid humanity of life in a Caracas slum with the actions of diplomats and political figures, including Cuba’s Fidel Castro addressing a rally of one million people.
Sam Shepard is an American playwright who ventures beyond the boundaries of the stage to the far reaches of the American landscape. In this film, Sam Shepard leads us on the journey where he explores the strangest land of all: the terrain of family and the landmarks of personal experience.
Filmed in a middle school gymnasium in suburban Japan, Goshogaoka takes as its ostensible subject the exercise routines and drills of a girls basketball team. The film consists of six ten-minute takes, shot with a fixed camera at court level, in which the various cadences of chanting voices and bodily movements digress into distinct studies. Taken together they construct a subtle and multi-layered social portrait, a portrait framed within a study of choreographed movements (the routines, etc.) and therefore one in which documentary values soon become inseparable from aesthetic ones.
Fonda emerges as one of the most riveting interviewees in this essential, but too-little-known, survey of a wide swath of actresses who candidly discuss the intractable sexism of the movie business. Speaking in French with Seyrig, a fellow actress-activist, Fonda recapitulates, with unwavering composure, incidents of patriarchal idiocy, from her earliest years in Hollywood to the making of the recently completed Julia.