Documentary / History
An old 35mm film projector was entirely disassembled, a mould was made of every part, a bronze copy was then created and the bronze parts were subsequently assembled. The whole process was filmed, to then be projected by the new, bronze projector. The observation that a…
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Oscar, a digital hipster, dives into the fantastic world of analogue loving projectionists. It’s not as easy as it might seems, one may even get hurt! The documentary is about the dying culture of 70mm material and the last mohykans, who aren’t afraid of fighting for their beloved film copies and feed the hungry old projectors with them.
Loner Mark Lewis works at a film studio during the day and, at night, takes racy photographs of women. Also he's making a documentary on fear, which involves recording the reactions of victims as he murders them. He befriends Helen, the daughter of the family living in the apartment below his, and he tells her vaguely about the movie he is making.
The film appears like a ritual with splendids and crypteds psalms. The Great Master of Order (Marcel Mazé, new fetish actor after Aloual) seduces the young male prey with a running cinema projector which carves Murnau's Nosferatu extracts on their bodies. Metamorphosis, rituals passages, Eros and Thanotos, illusion and reality, film into the film are the themes and images in perpetual osmosis in this Stéphane Marti's opus.
Stephen Glass is a staff writer for the respected current events and policy magazine The New Republic and a freelance feature writer for publications such as Rolling Stone, Harper's and George. By the mid-90s, Glass' articles had turned him into one of the most sought-after young journalists in Washington, but a bizarre chain of events - chronicled in Buzz Bissinger's September 1998 Vanity Fair article - suddenly stopped his career in its tracks.
Buck Weaver and Hap Felsch are young idealistic players on the Chicago White Sox, a pennant-winning team owned by Charles Comiskey - a penny-pinching, hands-on manager who underpays his players and treats them with disdain. And when gamblers and hustlers discover that Comiskey's demoralized players are ripe for a money-making scheme, one by one the team members agree to throw the World Series. But when the White Sox are defeated, a couple of sports writers smell a fix and a national scandal explodes, ripping the cover off America's favorite pastime.
On December 3, 2024, in Seoul, the President of South Korea Yoon Sukyeol declares the martial law. Troops move toward the National Assembly to seize control. Meanwhile, citizens rush to the National Assembly to block the troops, while lawmakers break through police's barricades at the main gate, climb over the walls to attend the session that lifts the martial law.
On October 16th, 1958, a family fled Indonesia. They spent a month at sea aboard the M.S. Sibajak on a voyage to The Netherlands. When they arrived, it was getting winter. Coming from the tropics, the cold was a shock. The family quickly noticed that the spirits who had always been with them in Indonesia were no longer there - they had left them along the journey.
Documentary about Berlin's "Salon Kitty," a brothel that was systematically used by the Nazis for espionage. The owner's daughter took over the premises in 1953 and gradually converted them into an artists' guesthouse. In the early 1990s, her grandson tried unsuccessfully to set up a guitar school, and since then the guesthouse has mainly accommodated asylum seekers. Rosa von Praunheim traces the history of the house in conversation with prominent contemporary witnesses.
Where Comes Mulan follows artist and filmmaker Tianyi Zheng as she returns to her ancestral village in Huangpi, Wuhan, where the legendary figure of Mulan is said to have originated. Beginning with intimate conversations with relatives and local residents, the film traces how Mulan has been remembered or forgotten in everyday life, only to collide with how local authorities have transformed her image into a powerful tourism brand. Through walks across tourist sites and abandoned ruins, Zheng questions the gap between lived memory and official narrative.
