The film, set almost entirely in New York, tells of the life of some young people of the late Sixties: of the use they make of various drugs, including the terrible LSD, of their sex life and their freedom of costume and thought.
Bud Thompson
as
Bruna Caruso
Annabella Andreoli
Norman Davis
Federica Sachs
Humphrey Osmond
as Self
Donald Louria
Vivian Stapleton
When Francois Truffaut approached Alfred Hitchcock in 1962 with the idea of having a long conversation with him about his work and publishing this in book form, he didn't imagine that more than four years would pass before Le Cinéma selon Hitchcock finally appeared in 1966. Not only in France but all over the world, Truffaut's Hitchcock interview developed over the years into a standard bible of film literature. In 1983, three years after Hitchcock's death, Truffaut decided to expand his by now legendary book to include a concluding chapter and have it published as the "Edition définitive". This film describes the genesis of the "Hitchbook" and throws light on the strange friendship between two completely different men. The centrepieces are the extracts from the original sound recordings of the interview with the voices of Alfred Hitchcock, Francois Truffaut, and Helen Scott – recordings which have never been heard in public before.
Max Devereaux and Suko Pyramid documentary about the making of their first three albums together as a duo and the story of their inspiring, international collaboration. Produced entirely remotely, featuring never-before-seen photos, videos and audio as well as interviews with close collaborators from all over the world.
A tribute to the late, great French director Francois Truffaut, this documentary was undoubtedly named after his last movie, Vivement Dimanche!, released in 1983. Included in this overview of Truffaut's contribution to filmmaking are clips from 14 of his movies arranged according to the themes he favored. These include childhood, literature, the cinema itself, romance, marriage, and death.
The dangers of LSD are driven home to teenagers in this classroom training film, which is "narrated" by an LSD tab. The "tab" tells kids that he is "a depth charge in the mind!" and various teenagers are shwn babbling about their LSD experiences. "Experts" are presented who warn that LSD makes kids "paint themselves green" and has various other horrible side effects, the most serious of which is that it gives users a police record, and that there is "no known way of getting your fingerprints out of a police file once they're in there."
This is not merely another film about cinema history; it is a film about the love of cinema, a journey of discovery through over a century of German film history. Ten people working in film today remember their favourite films of yesteryear.
Filmmaker Morley Markson shows Abbie Hoffman, Jerry Rubin, Allen Ginsberg, Timothy Leary, and other '60s rebels, then and now in a follow up to his 1971 film "Breathing Together: Revolution of the Electric Family."
Documentary film interviews leading Latinos on race, identity, and achievement.
Director Denys Arcand made an inquiry on textile industry in Quebec, meeting employers and workers of that industry.
This documentary on the "youth movement" of the late 1960s focuses on the hippie pot smoking/free love culture in the San Francisco Bay area.
This refreshingly frank and impartial study of the discovery and development of the notorious hallucinogenic drug is notably free of moral judgmental, and features contributions from such legendary heroes of psychedelia as Albert Hoffman - the Swiss scientist who discovered the drug - Aldous Huxley - author of 'The Doors of Perception' - Ken Kesey - author of 'One Flew Over the Cuckoo's Nest.
Satan in the Suburbs tells the shocking story of a grisly ritualistic murder in the quiet bedroom community of Northport, Long Island in the summer of 1984. The killing, it soon emerged, was linked to a teen satanic cult. Perhaps more disturbing than the details of the murder itself was the revelation of a conspiracy of silence among the town's teenagers, many of whom had been aware of the, e killing in the two weeks before an anonymous call finally tipped off local police. 17- year-old Ricky Kasso was arrested and confessed to the crime; five days later, he hung himself in his holding cell. Kasso's friend Jimmy Troiano also. confessed, but was acquitted after jurors learned that he was beaten by local police. The murder shocked the local community and reverberated nationally, with some uninformed observers rushing to scapegoat rock music as the cause.
An examination of why the James Bond films have proved so popular including a discussion between the four actors who have played Bond, an interview with Cubby Broccoli and contributions from the directors, production designers, special effects and stuntmen.
An insider's account of Jack Warner, a founding father of the American film industry. This feature length documentary provides the rags to riches story of the man whose studio - Warner Bros - created many of Hollywood's most classic films. Includes extensive interviews with family members and friends, film clips, rare home movies and unique location footage.
This documentary captures the sounds and images of a nearly forgotten era in film history when African American filmmakers and studios created “race movies” exclusively for black audiences. The best of these films attempted to counter the demeaning stereotypes of black Americans prevalent in the popular culture of the day. About 500 films were produced, yet only about 100 still exist. Filmmaking pioneers like Oscar Micheaux, the Noble brothers, and Spencer Williams, Jr. left a lasting influence on black filmmakers, and inspired generations of audiences who finally saw their own lives reflected on the silver screen.
Released two years after James Dean's death, this documentary chronicles his short life and career via black-and-white still photographs, interviews with the aunt and uncle who raised him, his paternal grandparents, a New York City cabdriver friend, the owner of his favorite Los Angeles restaurant, outtakes from East of Eden, footage of the opening night of Giant, and Dean's ironic PSA for safe driving.
Inspired by Steven Blush's book "American Hardcore: A tribal history" Paul Rachman's feature documentary debut is a chronicle of the underground hardcore punk years from 1979 to 1986. Interviews and rare live footage from artists such as Black Flag, Bad Brains, Minor Threat, SS Decontrol and the Dead Kennedys.
A look at the first years of Pixar Animation Studios - from the success of "Toy Story" and Pixar's promotion of talented people, to the building of its East Bay campus, the company's relationship with Disney, and its remarkable initial string of eight hits. The contributions of John Lasseter, Ed Catmull and Steve Jobs are profiled. The decline of two-dimensional animation is chronicled as three-dimensional animation rises. Hard work and creativity seem to share the screen in equal proportions.
The earliest surviving motion-picture film, and believed to be one of the very first moving images ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken on paper-based photographic film in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), on 14 October 1888. The film shows Adolphe Le Prince (Le Prince’s son), Mrs. Sarah Whitley (Le Prince’s mother-in-law), Joseph Whitley, and Miss Harriet Hartley walking around in circles, laughing to themselves, and staying within the area framed by the camera. Roundhay Garden Scene is often associated with a recording speed of around 12 frames per second and runs for about 2 to 3 seconds.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.