Sono innamorato di Pippa Bacca

In April 1939, "Grapes of Wrath" entered the pantheon of literature with a bang. Americans are at loggerheads over the odyssey of the Joad family, tenant farmers from Oklahoma who, like thousands of others, were driven from their land during the Great Depression. Eighty years have passed since the famous work was published, and 90 years since the beginning of the Great Depression in 1929. To mark this occasion, the documentary examines the genesis of the novel, its themes, its renewed reception during the financial crisis of 2008.

Immigrant residents of a “shift-bed” apartment in the heart of New York City’s Chinatown share their stories of personal and political upheaval. As the bed transforms into a stage, the film reveals the collective history of the Chinese in the United States through conversations, autobiographical monologues, and theatrical movement pieces. Shot in the kitchens, bedrooms, wedding halls, cafés, and mahjong parlors of Chinatown, this provocative hybrid documentary addresses issues of privacy, intimacy, and urban life.

The film explores the role of photography, since its rudimentary beginnings in the 1840s, in shaping the identity, aspirations, and social emergence of African Americans from slavery to the present. The dramatic arch is developed as a visual narrative that flows through the past 160 years to reveal black photography as an instrument for social change, an African American point-of-view on American history, and a particularized aesthetic vision.

Florida, 1994. Artist Mike Diana is convicted on an obscenity charge in the wake of an undercover police officer purchasing his limited edition zine Boiled Angel. Here is the very unusual story of what led to this First Amendment debacle happening for the first time in the United States.

Drawing on the collections of major Russian institutions, contributions from contemporary artists, curators and performers and personal testimony from the descendants of those involved, the film brings the artists of the Russian Avant-Garde to life. It tells the stories of artists like Chagall, Kandinsky and Malevich - pioneers who flourished in response to the challenge of building a new art for a new world, only to be broken by implacable authority after 15 short years and silenced by Stalin's Socialist Realism.

This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.

A portrait of the day-to-day operations of the National Gallery of London, that reveals the role of the employees and the experiences of the Gallery's visitors. The film portrays the role of the curators and conservators; the education, scientific, and conservation departments; and the audience of all kinds of people who come to experience it.

Through interviews and guerilla footage of graffiti writers in action on five continents, the documentary tells the story of graffiti from its origins in prehistoric cave paintings thru its notorious explosion in New York City during the 70’s and 80’s, then follows the flames as they paint the globe.

Norval Morrisseau was the first Indigenous Canadian artist to be taken seriously in the art world. By the turn of this century his work commanded tens of thousands of dollars. So when Barenaked Ladies keyboardist Kevin Hearn learned his prized painting was a forgery, he sued. But as Jamie Kastner's doc reveals, there was a cottage industry in fake Morrisseaus, an industry that flourished unchecked for years, feeding on greed, exploitation, racism and contempt.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Ashes and Snow, a film by Gregory Colbert, uses both still and movie cameras to explore extraordinary interactions between humans and animals. The 60-minute feature is a poetic narrative rather than a documentary. It aims to lift the natural and artificial barriers between humans and other species, dissolving the distance that exists between them.