Hannas baby

In 1928, as the talkies threw the film industry and film language into turmoil, Chaplin decided that his Tramp character would not be heard. City Lights would not be a talking picture, but it would have a soundtrack. Chaplin personally composed a musical score and sound effects for the picture. With Peter Lord, the famous co-creator of Chicken Run and Wallace & Gromit, we see how Chaplin became the king of slapstick comedy and the superstar of the movies.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

After moving to Oregon and falling in love with the ability to explore the outdoors with ease with his wife and two kids, Rashad Frazier knew he had to extend the invitation to others. Driven by the magic of his experiences, his background as a chef, and his love of good food and connecting people to incredible places that open up to conversation, he created Camp Yoshi, which curates custom outdoor adventures centered around shared meals and shared experience with the goal of creating a space for Black people and allies to unplug and in turn reconnect with the wilderness. By virtue of being in these places, Camp Yoshi's trips transform historically segregated spaces into safe havens for the community, conversation, and nourishment.

In Bettina Büttner’s exquisitely lucid documentary Kinder (Kids), childhood dysfunction, loneliness, and pent-up emotion run wild at an all-boys group home in southern Germany. The children interned here include ten-year-olds Marvin and Tommy. Marvin, fiddling with a mini plastic Lego sword, explains matter-of-factly to the camera, “This is a knife. You use it to cut stomachs open.” Dennis, who is even younger, is seen in a hysteric fit, mimicking some pornographic scene. Boys will be boys, but innocence is disproportionately spare here. Choosing not to dwell on the harsh specifics, Büttner reveals the disconcerting manner in which traumatic episodes can manifest themselves in the mundane — a game of Lego, Hide and Seek, or Truth or Dare. Filmed in lapidary black-and-white, Büttner’s fascinating film sheds light on childhood from the boys’ characteristically disadvantaged perspective — one not yet fully cognizant — leaving much ethically to ponder over.

Hollywood has made up their minds, forcing theaters to convert to digital or go dark. As theaters around the world change to newer digital technology, the job of the 35mm film projectionist is becoming irrelevant. Going Dark profiles two theater projectionists during their final days on the job.

The amazing story of how the Berkeley police department, the Nazi invasion of the Netherlands, an Academy Award winner and Mr. Spock from TV’s Star Trek are all connected by “Sudden Birth”, one of the most unintentionally hilarious and disturbing educational films ever created.

Internet comedian Carl Déman from the humor group JLC lived a life that looked glorious. But beneath the surface was a terrible gambling addiction that almost cost him his life. In 2019, he and other gambling addicts struggle to stay afloat in a contemporary age marinated in gambling advertising. Carl wants to ask those who make the advertising how they think and wonders why the advertising profiles now also come from the world of culture and entertainment.

With an off beat sense of humour, the film looks at the politics and glamour of lipstick and the dilemmas of the modern woman in a marketed world.