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Description: Why do some animals build structures and others don't? And how do animals decide where to build? Animal homes need to be secure and secure, security from predators and the weather. Going above ground and under, we will investigate just what goes into making a home when you re wild and cost is not a factor.
Description: Seventy years ago this month, the bombing of Hiroshima showed the appalling destructive power of the atomic bomb. Tag Cousins's bold documentary looks at death in the atomic age, but life too. Using only archive movie and a fresh musical score by the band Mogwai, the movie shows us an impressionistic kaleidoscope of our nuclear times - protest marches, Cold Fight sabre-rattling, Chernobyl and Fukishima - but also the sublime beauty of the atomic world, and how x-rays and MRI scans have improved human lives. The nuclear age has been a nightmare, but dreamlike too.
Description: River Niger, Black Mother follows the 4184-kilometer-long River Niger from its source in Guinea through Mali, Niger and Benin to Nigeria. A passionate ode to the river, the cultures that have arisen on its shores and its role in African history, accompanied by a lyrical commentary.
Description: Balogun's last movie shot on 16mm, The Magic of Nigeria is a documentary that explores the culture and traditions of Nigeria as they are expressed in religion, art and daily life, accompanied by a poetic voiceover.
Description: This Traveltalk look at Fresh Orleans begins at the recently updated port and harbor facilities, with ships unloading different cargo and loading cotton. We then ride along Canal Road and visit the Tulane University campus. After a look at the tons of the residential architecture, we end our visit at the city's fresh airport.
Description: Revisits the making of Joris Ivens' 1946 movie Indonesia Calling! In 1945-46 Indonesian, Indian, Chinese and Australian Trade Unions blockaded Dutch shipping in Australia, defending the newly declared Republic of Indonesia. Dutch Filmmaker Joris Ivens resigned as Movie Commissioner for the Netherlands East Indies and made Indonesia Calling! documenting the trade union actions and helping Indonesian independence. This documentary revisits the making of Ivens' radical film, Australia's early relationship with Indonesia and the impact of Ivens' film. Made with passionate commitment, Ivens' movie provoked a covert response from the state, while supporting to make a fertile ground for Australian independent documentary.
Description: The Minneapolis Wrestling Club is a 16mm documentary movie about four old-school, Midwestern professional wrestlers. With roots in vaudeville and the carnival sideshow, early professional wrestlers were a rare combination of athlete, circus performer and thug.
Description: A storyline of struggle and tragedy, the movie details harrowing underground disasters, heroic rescues and traces a history of strikes, industrial turmoil and the actual push by global mining giants to destroy regional communities and replace local mineworkers with a subservient itinerant workforce.
Description: In 2000, a California State Prison inmate serving Life Without Parole (LWOP) approached the warden to request a dedicated yard for boys serving life sentences that would break the code of violence dominating prison life. The California Department of Corrections and Rehabilitation (CDCR) subsequently transformed Yard A at California State Prison into The Progressive Programming Facility, which inmates call The Honor Yard. The only one of its type in the United States, this experimental prison yard is gratis of violence, racial tensions, gang activity and illegal drug and alcohol use.
Description: "Passion And Pain" is a documentary movie that introduces the audience to the intricacies of attempting to become a professional wrestler in a harsh entertainment world. Showcasing the grueling lifestyle of local wrestlers in the Phoenix Metropolitan zone in Arizona and in California. The passion that the wrestlers have for the wrestling business, and the pain that they experience due to injuries and private sacrifice.
Description: From performers risking permanent injury for a shot at fame and fortune to promoters teetering on the edge of bankruptcy, the insanely famous globe of wrestling is part sport and part entertainment. Go backstage as the promoters schedule shows and craft storylines for their characters that will hold fanatics on the edge of their seats.
Description: Crimson Mask is a documentary movie by Marco Eisenbarth, that follows German 'Ultra Violence Wrestler' Thumbtack Jack a.k.a. Alexander Bedranowsky in and outside of the wrestling ring. Being much more than a easy career review, the movie gives a deep insight beyond the mask of this seemingly violent and insane hero that is Thumbtack Jack, who mutilates his enemies with thumbtacks, barbed wire, syringes and even fire. Crimson Mask shows the boy on the another side. From his career high in the USA to his feud with arch opponent Drake Younger all the method to his very last 'Death-Match' vs long time mate and mentor 'Hate', the filmmaker never leaves Thumbtack Jack's side. But then fate strikes and changes Alexander Bedranowsky's life forever...
Description: Tuomas, a boy in his thirties, has lost everything in Thailand – his family, his possessions and the believe of his friends. Hoping to qualify for an early age pension in his native Finland, Tuomas is in such a terrible shape that even his legs can’t help his skeletal body anymore. Will anything change when Tuomas’s mates decide to support the boy with a drinking trouble for one last time and set out to receive him home from the roads of Thailand?
Description: Death Has Fallen on Deaf Ears in the Globe of Professional Sports. Step into the ring and watch all the action as fists fly when Legendary Wrestlers Roddy Piper, Bruno Sammartino, Mick Foley, Dominick Denucci, Shane Douglas, Balls Mahoney, Missy Hyatt, Raven, Mikey Whipwreck, Hillbilly Cousin Luke, Davey O'Hannon, Nikolai Volkoff and many more pro wrestling stars of yesterday and today do war as they take on the dark forbidden questions that nobody has wanted to ask until now. 3-years in the making, legends never die includes more than 90 mins of difficult hitting interviews and action packed, high flying, heart pounding footage.
Description: Openly gay pro wrestler, Simon Sermon, defies flamboyant gay stereotypes in professional wrestling and talks about his career in this no-questions-barred documentary. Featuring an interview with the legendary flamboyant pro wrestler, Exotic Adrian Street.
Description: A comedic bio pic that traces Angry Dog Vachon's life & career from beginning to present, with an emphasis on hardship, friendship and street stories. Guests contain Baron Von Rashke, Moose Morowski, Gene Kiniski, Stu Hart, Promoter Don Owen, Don Leo Jonathon, his brother The Butcher and The Intelligent, Sensational Destroyer.
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I've only seen this movie twice, both on the same day, nearly fifteen years ago; and yet its poetic-philosophical themes, its melancholy, its photos still remain with me. Viewing it was an intensely private experience; I search myself a tiny startled to search that another folks have seen it. I search myself plagiarising it constantly; I think of it at odd times (when I accidentally catch someone's eyes and instantly look away; whenever I visit San Francisco); it is a work of lingering and subtle beauty that percolates through my bloodstream, informing the hours and days, changing the things and methods I see...
'Sans Soleil' opens with a ferry trip to Japan, with the camera peering at sleeping passengers. This is a excellent encapsulation of the movie as a whole, a pretty mixture of adventure and dream. The movie is ostensibly a documentary, that holier-than-thou category convinced of its own superior truthfulness. And the movie is full of documentary images, snapshots from the faraway territories Marker visits, Japan, Africa, South America, San Francisco, Iceland, Paris. The movie is full of the observations of the filmmaker about the cultures he observes.But 'Sans Soleil' couldn't soar further from the prosaic ambitions of the documentary. Like the movie it most resembles, Marker's own 'La Jetee', it is in fact a work of science fiction, as much about time travel as literal travel. Every zone Marker visits is stripped of its familiarity, and made eerie, alien. Concrete photos become springboards for dizzy philosophical speculations. The movie moves with ease from the court of 11th century Imperial Japan to the revolutionary struggles in 1960s Africa to emus on the Ile de France to an interpretation of Hitchcock's 'Vertigo' to astrological rumination on a desert beach, and still remains thematically coherent and full of the most startling connections.It is this structure that creates the feel of science fiction, the linking of seemingly disparate images, symbols, stories, experiences, territories to make a strange pattern which emanates something spiritual, that seems to create sense of increasing chaos, dislocation, displacement. But we are constantly reminded that these are secular, man-made, ad-hoc, arbitrary constructions, as phantom as the relationship in 'La Jetee', but, similarly, a important construction to cover the abyss. The distortion of the soundtrack, the mixture of silence and mooged classics; the pc visuals of Marker's friend, known as The Zone, which seep conventional, representational photos and turn them into ghosts, traces, stripped of history, recognisability, humanity; the film's fictional framework (the narrative comprises letters to the narrator by the filmmaker, Sandor Krasna) all add to this unsettling science fiction appropriation of the documentary genre.When the history of cinema comes to be written in centuries to come, there will really only be two movies that will survive from its first century, movies dense, supple, playful, renewable enough, and full of enough chances for future direction, to transcend the local, the generic, the pretentious, the narrative. One is that final gasp of modernist cinema, 'Vertigo'; the another is this epitome of post-modernity. in many ways, 'Sans Soleil' is a stunning exegisis on Hitchcock's masterpiece (which had only just been re-released after two-decades withdrawel), echoing its circular structure, its concern with time, memory, the elusiveness of history. 'Soleil' locates the crisis of post-modernity in Japan, that most modern of modern capitalist societies. With the curiosity of an anthropologist, the nice humour of an essayist, and the eye for the unusual of a rare filmmaker, Marker gives us a Japan we rarely see, even in the country's own cinema; on the one hand a culture of startling modernity, leading the method in computers, technology, department shops etc., on the another full of residual traditions, rituals, superstitions, ceremonies, going back centuries. The co-existence of these two time-scales has resulted in a type of blur, a temporal vacuum, whereby all sense of time and perspective is lost, where religious ceremonies for the souls of stray pets co-exist with state-of-the-art video games. Japan is like a ship that has lost its anchor, where all time is the same, and therefore irrelevant, just as Scottie Ferguson wanders around dazed, in a loop of fantasy and distorted memory. Without history, memory, a culture ceases to be a culture and lays itself launch to all sorts of vulnerability. But this lack of foundation ironically leads to a greater freedom, particularly of the mind, and the film, as it reaches its conclusion, becomes visionary and hallucinatory.'Soleil' is anything but bleak - its stories, myths, cultural tidbits, observations are unfailingly entertaining and full of nice humour. Krasna compares the overcultured, saturated Japan to the timeless emptiness of Africa, to the spooky otherworldliness of Iceland, as his 'objective' narrative becomes increasingly a private odyssey that gotta be teased out from tips and ellipses. In its focusing on the minutae, the forgotten, the arcane, the ephemeral, the back alleys, the garbage, but suggesting that 'Soleil' is ultimately only one movie out of a possible multitude made possible by fresh technologies, Marker's movie is at once profoundly democratic yet exhilaratingly idiosyncratic; an apocalyptic vision teeming with life.
A response to the reviewer who named the movie pretentious claptrap: This film is not for everyone and I can easy understand the sentiments of one who finds it pretentious. But when one tells "Assumptions contain that the east is superior to the west, tv is bad, capitalism evil,etc." you are so thoroughly missing the mission of the movie that I have to wonder if you watched it out of the corner of your eye while doing a crossword puzzle. Perhaps one doesn't hear "Capitalism is good" and understands "capitalism is evil," but that all occurs within the viewer. I for one never saw any of these "assumptions" being made here.
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