Browse Titles - 36 results
Bananas!*
Source: www.imdb.com
Source: www.imdb.com
La bocca del lupo
La casa de mi abuela
La Commune (Paris, 1871)
In this war drama blurring the lines between documentary and fiction, Watkins covers and interviews on television the working class and the bourgeoisie of 19th century, before and during a tragic workers' class revolt.
« Un ovni dans le paysage audiovisuel : une œuvre à part, belle et crispante, qui dynamite le...
In this war drama blurring the lines between documentary and fiction, Watkins covers and interviews on television the working class and the bourgeoisie of 19th century, before and during a tragic workers' class revolt.
« Un ovni dans le paysage audiovisuel : une œuvre à part, belle et crispante, qui dynamite les mécanismes de création habituels. » - Les Inrockuptibles
Peter Watkins a réalisé une fiction sur la Commune comme un documentaire cont...
In this war drama blurring the lines between documentary and fiction, Watkins covers and interviews on television the working class and the bourgeoisie of 19th century, before and during a tragic workers' class revolt.
« Un ovni dans le paysage audiovisuel : une œuvre à part, belle et crispante, qui dynamite les mécanismes de création habituels. » - Les Inrockuptibles
Peter Watkins a réalisé une fiction sur la Commune comme un documentaire contemporain pour, dit-il : "Insuffler à l’histoire figée des historiens, l’énergie épique de l’immédiateté".
Pour raconter la Commune il montre une télévision aux ordres (Télévision Nationale Versailles) qui débite des informations lénifiantes, tandis qu’une télévision libre jaillie du Paris insurgé s’efforce de capter la fureur populaire.
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The Comoedia Theatre, A Rebirth
Discovering Cinema: Learning to Talk
Discovering Cinema: Movies Dream in Color
Dziga and His Brothers
Source: www.milestonefilms.com
Source: www.milestonefilms.com
Henri-Georges Clouzot's Inferno
One of the great, unfinished works in film history, Inferno, by Henri-Georges Clouzot was an audaciously experimental film with a virtually unlimited budget that was stopped only three weeks into production. Working closely with Clouzot's widow, Inès, Serge Bromberg and Ruxandra Medrea reconstruct Clouzot's ori...
One of the great, unfinished works in film history, Inferno, by Henri-Georges Clouzot was an audaciously experimental film with a virtually unlimited budget that was stopped only three weeks into production. Working closely with Clouzot's widow, Inès, Serge Bromberg and Ruxandra Medrea reconstruct Clouzot's original vision, filling and explaining the gaps with new interviews, re-enactments and Clouzot's own notes and storyboards, delivering an...
One of the great, unfinished works in film history, Inferno, by Henri-Georges Clouzot was an audaciously experimental film with a virtually unlimited budget that was stopped only three weeks into production. Working closely with Clouzot's widow, Inès, Serge Bromberg and Ruxandra Medrea reconstruct Clouzot's original vision, filling and explaining the gaps with new interviews, re-enactments and Clouzot's own notes and storyboards, delivering an in-depth look at the masterpiece that might have been.
In 1964, director Henri-Georges Clouzot (Diabolique, The Raven, The Wages of Fear, The Picasso Mystery) chose Romy Schneider, age 26, and Serge Reggiani, 42, to star in L’enfer (Inferno), an enigmatic and original project with an unlimited budget. Reggiani was to play Marcel Prieur, the manager of a modest hotel in provincial France who becomes possessed by the demons of jealousy. Intended to be a cinematic "event" upon its release, three weeks after shooting began on Inferno, things took a turn for the worse. The project was stopped, and the images, which were said to be "incredible", would remain unseen...
Until now. Working closely with Clouzot's widow, Inès, Serge Bromberg reconstructs Clouzot's original vision. Midway between documentary and narrative, Henri-Georges Clouzot's Inferno unveils, for the first time in nearly half a century, these luminous visions. It delivers an in-depth look at the masterpiece that might have been and explores the unnerving parallels between an artist and his work, featuring the original astonishing color expressionism that Clouzot captured on celluloid, a visual exploration of the director's own anxiety.
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Listen to Britain: And Other Films by Humphrey Jennings
Source: www.imdb.com
Humphrey Jennings was one of the greatest figures in the celebrated British documentary film movement, and he is most remembered for the way his work reflects the concerns and conditions of World War II-time in the United Kingdom. He is undoubtedly of great historical importance, but the ultimate justification for...
Source: www.imdb.com
Humphrey Jennings was one of the greatest figures in the celebrated British documentary film movement, and he is most remembered for the way his work reflects the concerns and conditions of World War II-time in the United Kingdom. He is undoubtedly of great historical importance, but the ultimate justification for the present gathering of work is that Jennings was a wonderful filmmaker who made uniquely beautiful films. Contained within this one...
Humphrey Jennings was one of the greatest figures in the celebrated British documentary film movement, and he is most remembered for the way his work reflects the concerns and conditions of World War II-time in the United Kingdom. He is undoubtedly of great historical importance, but the ultimate justification for the present gathering of work is that Jennings was a wonderful filmmaker who made uniquely beautiful films. Contained within this one man was a seemingly impossible array of artistic abilities. He had a poet's command of film language, a painter's eye for evocative imagery and composition, a musician's ear for rhythm and tone and counterpoint, a Soviet's sense of juxtaposition, a journalist's nose for the concrete and the factual, and a compassionate man's love for the people he portrayed.
It may seem paradoxical that an artist of such positively romantic parts should have labored almost exclusively in the documentary realm, with all that it implies of subordination to subject and sponsor. But Jennings' particular talents emerged at a time of very particular need, and that seeming subordination to a cause is in fact the key to the continuing resonance of his work. In the incongruous coupling of the Cambridge aesthete and the British propaganda machine, both parties turned out to be anxious to compromise for the sake of the union. In these pictures, Jennings' impressive aesthetic arsenal helped to expand the scope and the vocabulary of documentary. In turn, the documentary idea, especially in time of war, served to focus and direct his aesthetic impulses to public ends. The result was a short, shining, perfect marriage.
FILMS INCLUDED IN COLLECTION:
London Can Take It! (1940 - 9 Minutes)
Directed by Harry Watt & Humphrey Jennings
Words For Battle (1941 - 8 Minutes)
Compiled and Directed by Humphrey Jennings
Spoken by Laurence Olivier
Listen To Britain (1942 - 18 Minutes)
Written, Edited, and Directed by Humphrey Jennings & Stewart McAllister
Fires Were Started (1943 - 70 Minutes)
Alternate Title: I Was a Fireman
Written and Directed by Humphrey Jennings
A Diary For Timothy (1943 - 39 Minutes)
Directed by Humphrey Jennings
Family Portrait (1951 - 26 Minutes)
Written and Directed by Humphrey Jennings
Bonus Film: Myra Hess Playing the First Movement of Beethoven's Sonata in F Minor No. 57 (Apassionata) (1945 - 9 Minutes)
Directed by Humphrey Jennings
