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On November 2, 1975, film maker Pier Paolo Pasolini was brutally beaten, and then run over by a car, ending the life of an inconvenient thorn in the side of the powers-that-be in Italy. Pasolini was born in 1922 to a rich military father who gambled away most of the family's money, and a vocally anti-fascist mother. Pasolini became a follower of Mussolini anyway, and published a volume of poetry during World War II. Things changed after the politically motivated murder of Pasolini's younger brother, and Pasolini turned into a Communist who longed for Italy's return to greatness as experienced in the Roman Empire and Renaissance eras. Pasolini began to teach high school. An open homosexual, he was acquitted of charges of having sex with his students, but was fired anyway. He became fascinated with the young slum boys of Rome, and the writings of political dissident Antonio Gramsci. Pasolini was a walking contradiction. He supported Communism but attacked conformity. He began writing novels and essays, eventually branching into film making with "Accattone," where he was assisted by a young Bernardo Bertolucci. Pasolini specialized in neorealism- realistic films about everyday people with epic characterizations, but soon entered mythic film making with such works as "The Gospel According to St. Matthew," "The Decameron," "Oedipus Rex," "The Canterbury Tales," and "Arabian Nights." Pasolini's prolific writing continued as well, making him the scourge of both the left and right wings of Italian political circles. Then came "Salo, or The 120 Days of Sodom." Pasolini turned people into objects to attack consumerism in this violent tale of torture. It was to be his last film, although his next project was about a modern day St. Paul in the United States. The investigation into Pasolini's death was hurried and sloppy. A seventeen year old male prostitute was sentenced to nine years in jail for the murder, even though no blood was found on the boy's clothes, and the Italian government chalked the incident up to just another homosexual, who was into rough sex, taking things a little too far. Pier Paolo Pasolini is a difficult subject because of his innate Italian character. When I saw this documentary, I had seen three of his films: "Love Meetings" (a total bore about sexual behavior among Italian youths), "Teorema" (a sometimes tedious surrealistic exercise), and "The Canterbury Tales" (a confusing and confused adaptation). The readings of his poetry show a passionate patriot embroiled in good but dense imagery obsessed with a perceived downturn in Italian culture. English majors, think Robinson Jeffers writing urban and political verse. Pasolini was not a Lucio Fulci or a Ruggero Deodato, shooting "Salo" to excite and exploit, this is a man who slaved over his art and thoughts, publishing a book calling for the criminal prosecution of the ruling party at that time, with passages that make Michael Moore read like A.A. Milne. The film itself is just an hour, a detriment to such a complex thinker. Although punctuated with gory death photos of Pasolini, the viewer must do their own detective work about what happened that night decades ago. "Salo" was not the end all-be all of Pier Paolo Pasolini's life. He had plenty more to say, but not enough time to say it. The accused male prostitute recanted his story and the case was reopened. Too late for a one of a kind film maker, artist, and writer. "Whoever Says the Truth Shall Die" does do a good job introducing Pasolini to many, whether we should heed his warning that all truth opens a writer to danger and death falls squarely on the viewer.
From 1970-1977, six low budget films shown at midnight transformed the way we make and watch films.
A 2003 documentary study of mainstream Cyberpunk films of the 1980s created by director Andrew J. Holden. The film uses the structure of literary theorist Northrop Frye to describe the common, repeating stories in Western culture, and how Cyberpunk can be defined and understood according to that analysis, with a focus toward American film industry portrayal of race, gender, and government.
Feature length documentary examining the troubled life and tragic death of college football standout and talented NFL running back Lawrence Phillips, whose scars of childhood abuse and abandonment haunted him throughout his career.
This is not merely another film about cinema history; it is a film about the love of cinema, a journey of discovery through over a century of German film history. Ten people working in film today remember their favourite films of yesteryear.
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.
A living room, two video cameras, an armchair, two televisions and a mirror: domestic daily life in which colleagues, family and friends come together to decipher the life, personality and artistic trajectory of one of the most important actresses of Venezuelan Cinema: Hilda Vera
Released two years after James Dean's death, this documentary chronicles his short life and career via black-and-white still photographs, interviews with the aunt and uncle who raised him, his paternal grandparents, a New York City cabdriver friend, the owner of his favorite Los Angeles restaurant, outtakes from East of Eden, footage of the opening night of Giant, and Dean's ironic PSA for safe driving.
When Francois Truffaut approached Alfred Hitchcock in 1962 with the idea of having a long conversation with him about his work and publishing this in book form, he didn't imagine that more than four years would pass before Le Cinéma selon Hitchcock finally appeared in 1966. Not only in France but all over the world, Truffaut's Hitchcock interview developed over the years into a standard bible of film literature. In 1983, three years after Hitchcock's death, Truffaut decided to expand his by now legendary book to include a concluding chapter and have it published as the "Edition définitive". This film describes the genesis of the "Hitchbook" and throws light on the strange friendship between two completely different men. The centrepieces are the extracts from the original sound recordings of the interview with the voices of Alfred Hitchcock, Francois Truffaut, and Helen Scott – recordings which have never been heard in public before.
A tribute to the late, great French director Francois Truffaut, this documentary was undoubtedly named after his last movie, Vivement Dimanche!, released in 1983. Included in this overview of Truffaut's contribution to filmmaking are clips from 14 of his movies arranged according to the themes he favored. These include childhood, literature, the cinema itself, romance, marriage, and death.
Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.