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After a quarter-century of political denial and social stigma, of stunning scientific breakthroughs, bitter policy battles and inadequate prevention campaigns, HIV/AIDS continues to spread rapidly throughout much of the world. Through interviews with AIDS researchers, world leaders, activists, and patients, FRONTLINE investigates the science, politics, and human cost of this fateful disease and asks: What are the lessons of the past, and what can be done to stop AIDS?
Georgian director Otar Iosseliani prepares his film Jardins en Automne. Nothing is conventional in the filmmaker's system: Julie Bertuccelli portrays the gestation and production of a film that seems to follow the freest and most unpredictable poetic intuitions of its creator. The constant and hilarious arguments with the producer, Martine Marignac, a Michel Piccoli transformed into an old woman, and the director's peculiar filming system, in which he signals his actors to start with a whistle, paint a picture of one of the most unclassifiable cinematic experiences in contemporary cinema.
The highest mountain range in the world, the Himalayan range is far reaching, spanning thousands of miles, and holds within it an exceptionally diverse ecology. Coniferous and subtropical forests, wetlands, and montane grasslands are as much a part of this world as the inhospitable, frozen mountaintops that tower above. The word Himalaya is Sanskrit for abode of snow, fitting for a stretch of land that houses the world’s largest non polar ice masses. Extensive glacial networks feed Asia's major rivers including the Ganges, Indus, and Brahmaputra. More than a billion people rely on these glacier-fed water sources for drinking water and agriculture. The Himalayas are not only a remarkable expanse of natural beauty. They're also crucial for our survival.
The point of departure for this film is the 1981 composition De Tijd by Dutch composer Louis Andriessen. Van der Keuken leaves the music undisturbed as an autonomous soundtrack and has the images engage in a sort of battle with it. These images are associations, fragments of events, scenes and situations. The film is preceded by a text by Bert Schierbeek.
Manual Scavenging is an all India Phenomenon. However, the Government of India is kind enough to enact Prohibition of Employment as Manual Scavengers and their Rehabilitation Act and implementing many schemes. But none of them failed to work as the caste system is paramount in the so called democratic constitutional India. This film Kakkoos elaborates on the deplorable status.
On August 8, 1988, the world’s first and largest Satanic rally took place. Ripped from a video featuring Satanist talking about creating a New World Order and killing off the masses. The 8-8-88 ritual was conducted right at the heart of the Satanic Panic. The goal, further exploit and feed upon the energies produced by the fears of the ignorant general public and media. It was shown to a sold-out crowd of degenerates promising them, “A Bitter Message of Hopeless Grief,” “A Nightmare of TERROR!” and “An Evening of Apocalyptic Delight!”
The Underground subcultures in Budapest are an integral part of the diverse and colorful Hungarian culture. The creators of the film - Esther Turan and Anna Koltay - wanted to explore what were the major youth music subcultures in the '90s and 2000s in Budapest. This film is a tribute to the underground subcultures of the city. In these series of films, these grass-roots groups deal with the social impact of their community building power and the role played by Budapest itself in the formation of these groups. The film explores the kind of atmosphere and unwritten rules, what were the dominant places, external signs, and symbols, or who were the central figures and what were the memorable stories. The film guides the viewer from the best bands to the message, from the typical attire to the cult bars. The new generation is a starting point, a complex retrospective of where it originated and why the colorful underground cultural life still characterizes Budapest today.
Dalibor K. is an industrial painter, amateur horror maker, the composer of angry songs, painter and a radical neo-Nazi. He is approaching 40, but he is still living with his mother Vera, Aged 63, and is yet to experience the real relationship with a woman. He hates his job, gypsies, Jews, refugees, homosexuals, Merkel, spiders and dentists. He hates his life, but he doesn’t know how to change it.
