María Victoria Ric
as Pilar florista (joven)
Eloi Benet
as Jose Ric (adulto)
Javier Ruiperez
as Jose Ric (joven)
Mingo España
as Militar fascista
Pablo Gracia Vera
as Mando del pelotón de fusilamiento
Filmmakers revisit Inukjuak, the Inuit village where Robert J. Flaherty filmed Nanook of the North in the early twentieth century, and examine the realities behind the ground-breaking documentary.
Archives from Swarm's Involving Heritage 2024 tour with Piri Reis in five cities on the island of Java.
An upcoming documentary on the Arizona screamo band Journal.
The raft man Manuel Jacaré was swallowed by the sea when Orson Welles was filming It's All True in 1942. The fact evokes memories of the dictatorship of the Estado Novo, of World War II, of Ceará fishermen's struggle for labor rights and housing in their traditional space - target of real estate speculation.
Why is it prohibited to sit in food courts if you will not order foods? Why did Isko Moreno, newly elected Mayor of Manila, suddenly withdrew the licenses of bars near university establishments? What is life at night in Poblacion, Makati for Prostitutes? These are the questions that intrigued the group of students from Adamson University from tapping the nameless dilemma of the business industry and figuring in the end if they are ethical or not.
Monte Hellman was born in 1932. By 1986 he made eight features, but had not directed for six years. I had made as many documentaries, but had not turned a foot of film through a camera for two years. I decided to break the silence by spending a day with him. Nine rolls were loaded into the camera. We talked until either we or the camera ran out.
A two parts making of documentary, following José Augusto Silva and his film crew during the shooting of a university short film called Castelo.
Filmed mostly on a Mini DV camera Gavin has thought of a quick way to become successful and be the master of the world but he has to wait for it all to fall into place… he has to wait for the postman to start production documenting the process of being master of the world.
Ten years after winning a world title in bodybuilding in Russia and becoming a star of said discipline in Mexico, Antonio Osta (43) leads a life of austerity in the Uruguayan rural town where he grew up. He resides there with his son Juanjo (17), a sensitive teenager who keeps him company and confronts him openly. Suffering from acute kidney disease which keeps him from competing professionally, Antonio is stuck in limbo, halfway between his glorious past and the impossibility of being who he once was. However, he is unwilling to give up his lifestyle, even if it kills him. In an attempt to reinvent himself, and seeking a better future for his son, Antonio plans a comeback to the Mexico bodybuilding scene, where he may relive his glory days.
This film is part of a project that has listened to over 40,000 people on masculinity issues and has resulted in a documentary and a tool book based on this publicly available study through an agreement with the Social Information Consortium (CIS) of the University of São Paulo.
Filmmaker Liam Le Guillou seeks out an occult curse to an answer to the question "is magic real?", forcing him to question the nature of reality and belief in this dangerous, never-before-seen, dark social experiment.
Rare documents and details of the film's story. From its initial option to its critical reception and legacy. Director David Weisman, who also produced "Kiss of the Spider Woman", comes off as rightful creative force behind the production, as it was his true passion. Very detailed comments from all the participants, from the author of the book to the lawyer for the production company, the actors, director, writers, producer, and crew members.
Around a fire in the middle of the forest, two former members of the armed anti-capitalist group La Bande à Fasel meet three young activists from the Mormont ZAD, XR Rébellion and anti-racist groups active in Switzerland. During a night as blank as a page, the five characters reflect on revolt, its forms and its limits, past and present.
As one of Belgrade’s last DIY anti-nationalist spaces faces closure, its community gathers for a final night — a farewell that becomes a quiet act of resistance.
An experiment and a dialogue about recording, the act of filming and the colors available to whoever points the camera somewhere.