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Someday at a Place in the Sun - (Mar 12th)
Crimewatch Live - (Mar 12th)
Selling Houses Australia - (Mar 12th)
Family Feud Canada - (Mar 12th)
Home of the Year - (Mar 12th)
Ishura - (Mar 12th)
Wild Cards - (Mar 12th)
Allegiance - (Mar 12th)
A Killers Mistake - (Mar 12th)
Body Bizarre - (Mar 12th)
The Weekly with Charlie Pickering - (Mar 12th)
The Dog House Australia - (Mar 12th)
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Watch What Happens Live with Andy Cohen - (Mar 12th)
Deal or No Deal Island - (Mar 12th)
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An observational film that using the fragmented format of a newscast program proposes a cinematic glance to the same reality depicted daily by the media.
Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.
"…elegant yet rustic in its simplicity of execution; tugged gently toward different sides of the set by hints of color and motion interactions, positive and negative spaces, etc., and the unyielding delivery on one of the great apotheoses of poetic cinema at fade-out time." – Tony Conrad
This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."
A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.
Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.
Made during the height of the Vietnam War, Stan Brakhage has said of this film that he was hoping to bring some clarity to the subject of war. Characteristically for Brakhage there is no direct reference to Vietnam.
Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)