Secret Lives of Orangutans 2024 - Movies (Nov 29th)
Christmas Wreaths and Ribbons 2024 - Movies (Nov 29th)
Defoe 2024 - Movies (Nov 29th)
Porch Pirates 2024 - Movies (Nov 29th)
Debbie Macomber’s Joyful Mrs. Miracle 2024 - Movies (Nov 29th)
Instacult 2024 - Movies (Nov 29th)
The Bridge 2024 - Movies (Nov 29th)
Once Upon a Christmas Wish 2024 - Movies (Nov 29th)
A Christmas Less Traveled 2024 - Movies (Nov 29th)
The Window 2024 - Movies (Nov 29th)
Hitpig 2024 - Movies (Nov 29th)
Heightened 2023 - Movies (Oct 2nd)
Sebastian 2024 - Movies (Oct 2nd)
Hounds of War 2024 - Movies (Oct 2nd)
Knox Goes Away 2023 - Movies (Oct 2nd)
A Quiet Place Day One 2024 - Movies (Oct 2nd)
Cabrini 2024 - Movies (Oct 2nd)
Beatles 64 2024 - Movies (Nov 29th)
Watchmen Chapter I 2024 - Movies (Nov 29th)
Nutcrackers 2024 - Movies (Nov 29th)
Aftermath 2024 - Movies (Nov 29th)
The ReidOut with Joy Reid - (Nov 30th)
Im a Celebrity... Unpacked - (Nov 30th)
Gold Rush - (Nov 30th)
Deadline- White House - (Nov 29th)
The Beat with Ari Melber - (Nov 29th)
Cops - (Nov 29th)
The Last Leg - (Nov 29th)
Have I Got News for You - (Nov 29th)
Gogglebox - (Nov 29th)
The One Show - (Nov 29th)
Susan Calmans Grand Day Out - (Nov 29th)
Mistletoe Murders - (Nov 29th)
Junior Taskmaster - (Nov 29th)
The Chase - (Nov 29th)
Richard Osmans House of Games - (Nov 29th)
The Vietnam War - (Nov 29th)
DC Heroes United - (Nov 29th)
Deal or No Deal - (Nov 29th)
Four in a Bed - (Nov 29th)
Katy Tur Reports - (Nov 29th)
One doesn't normally use the word "fun" and documentary in the same sentence, but Varga has such a unique personality and style that her films are actually fun. The Gleaners and I may be the most fun and yet, Varga delivers the political message with Vaseline. At the same time, we get an education on found art.
The Gleaners and I is a documentary about gleaning as both a physical and metaphysical activity. Director Agnès Varda is herself a meta-gleaner; she’s a gleaner of gleaners the same way that Jesus was a fisher of men. The film is a confluence of the practical and the artistic. Many of the people in the movie glean to eat (their children sing a revealing ditty: “Monday, potatoes/Tuesday, potatoes/Wednesday, potatoes again/Thursday, potatoes/Friday, potatoes/Saturday, potatoes again/Sunday, potatoes au gratin”). For others is a chosen lifestyle, or a hipster hobby. And for Varda, it is an aesthetic endeavor; “I'm not poor, I have enough to eat,” she said in an interview, pointing to “another kind of gleaning, which is artistic gleaning. You pick ideas, you pick images, you pick emotions from other people, and then you make it into a film.” Thus, while most of the gleaners in the film collect objects they can use, Varda chooses a useless object – a handless clock – and repurposes it as an ornamental piece. The Gleaners and I is almost 100% wheat except for the chaff of self-indulgence. The film gains a lot of momentum when Varda simply observes, and one of its greatest pleasures is how the filmmaker makes room for spontaneous diversions, becoming sidetracked in the pursuit of beautiful things and interesting people. This momentum is lost when Varda points the camera at herself, a mistake that is obvious to everyone but her; in fact, in a follow-up released two years after the original film, one of her interviewees tells her, after watching the documentary, that the scenes she devotes to herself are “unnecessary”. That said, Varda does deserve a lot of credit for her ability to find beauty in the most unexpected places, both in the countryside and in the city, filming with one hand, and gleaning with the other.
When Malagasy soldiers came back from WWII, they expected De Gaulle to give them independence for fighting along with France against Nazis. Instead, they were asked to return to their indigenous status. They soon became the leaders of an uprising, harshly repressed by the French colonial authorities. The last witnesses tell us about their long months of resistance.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
When a Mongolian nomadic family's newest camel colt is rejected by its mother, a musician is needed for a ritual to change her mind.
Now We Live on Clifton follows 10 year old Pam Taylor and her 12 year old brother Scott around their multiracial West Lincoln Park neighborhood. The kids worry that they'll be forced out of the neighborhood they grew up in by the gentrification following the expansion of DePaul University.
The film tells the story of two friends who want to disappear from life. While their country Belgium is falling apart, two lost souls cling to each other.
In Echigo in Japan the snow often lies several feet deep well into May covering landscape and villages. Over the centuries the inhabitants have organised their lives accordingly. In order to record their very distinctive forms of everyday life, their festivals and religious rituals Ulrike Ottinger journeyed to the mythical snow country – accompanied by two Kabuki performers. Taking the parts of the students Takeo and Mako they follow in the footsteps of Bokushi Suzuki who in the mid-19th century wrote his remarkable book “Snow Country Tales”.
"Solovky Power" is a documentary about the first Soviet labor camp created by Lenin in 1923. Solovky was established in a complex of ancient monasteries on a cluster of islands off the remote White Sea coast. Though its name derives from the Russian word for nightingale, the title of the film echoes the term 'Soviet power', stressing the fact that from the very beginning the Soviet penal colonies were a world unto themselves.
Christian Dior, the creator of the New Look, died 60 years ago, on October 23, 1957. Frédéric Mitterrand traces the entire life of the French couturier who revolutionized fashion. He also explores France, which Christian Dior loved, and ventures into landscapes that inspired him.
Tongue-in-cheek look at the French Riviera, especially in summer when it overflows with tourists. Reviews its history and famous visitors; displays its faux-exotic buildings, its crowded beaches, its trees and monuments; and, pokes fun at the colors women wear and the vagaries of fashion. The film celebrates the use of "Eden" as a place name, suggesting that paradise comes to the coast after all are gone, perhaps only on a remote island beach.