After Midnight - (Feb 1st)
The Chase - (Feb 1st)
Fox and Friends - (Feb 1st)
Gutfeld - (Feb 1st)
Outnumbered - (Feb 1st)
The Five - (Feb 1st)
The UnBelievable with Dan Aykroyd - (Feb 1st)
Cold Case Files- Murder in the Bayou - (Feb 1st)
Cold Case Files - (Feb 1st)
Wheres Wanda - (Oct 2nd)
The Bay - (Oct 2nd)
Seoul Busters - (Oct 2nd)
Unsolved Mysteries - (Oct 2nd)
The Kelly Clarkson Show - (Oct 2nd)
The Young and the Restless - (Feb 1st)
On Patrol- Live - (Feb 1st)
Shark Tank India - (Feb 1st)
The One Show - (Feb 1st)
Someday at a Place in the Sun - (Feb 1st)
Bargain-Loving Brits in the Sun - (Feb 1st)
In 1993, filmmakers Ron Fricke and Mark Magidson presented a deeply moving portrait of features universal to all human societies, warned of ecological collapse, and depicted how technology was changing our lives in Baraka. Shot on 70mm film in 30-odd countries, this was one of the most visually impressive films ever made, and its lack of any dialogue or narration allowed viewers to engage in their own individual reflections about the panorama on the screen. Two decades later, the team returned with Samsara, a sequel that wasn't really necessary. One reason that Samsara is not very good is that it often seems a shot-for-shot repeat of Baraka. The filmmakers revisit many of the same locations (such as Thai prostitutes, a chicken-processing plant, home appliance factories, landfill gleaners). Again Buddhism, the Ka'aba and high church Christianity are depicted, but because the film does not go on to any other religions than what was on Baraka, these rituals feel this time like cheap exoticism instead of unquenchable anthropological curiosity. SAMSARA also lacks the dramatic arc of Baraka, coming across as a random succession of images instead of the journey from sacredness to horror and back that we found in its predecessor. That is not to say that Samsara is completely without interest. There is an astonishing clip of performance artist Olivier de Sagaza, and the freakish Dubai landscape is depicting in a detail that few (even those who have been there) have seen. Samsara is all in all a darker film, and while depictions of the wreckage of Katrina, a Wyoming family that are proud to own an arsenal of guns, and a wounded veteran may fail to really shock viewers in the West who have already been exposed to such images for years, scenes of garish funerals in Nigeria and Indonesian men making the rounds in a sulphur mine (even though they know it is killing them) are stirring and memorable. Of course the visuals are rich, and in Bluray format on my HD projector the film is just as stunningly detailed as its predecessor. However, Samsara lacks enough new things to say, it surprisingly doesn't offer continual rewards on rewatching, and just by the fact that it exists out there it potentially dilutes the impact of Baraka, once a singular film. I was entertained enough to give this a 3-star rating, but I would still recommend Baraka, and even for those who have seen and loved Baraka, I would not recommend moving on to this film.
Author and cook David Groß travels through five European countries and cooks exclusively what others throw in the garbage bin. With great thirst for knowledge, he tracks food waste and presents unexpected solutions. In an unusual and humorous self-attempt David Groß questions our daily consumer lifestyle.
A documentary of insect life in meadows and ponds, using incredible close-ups, slow motion, and time-lapse photography. It includes bees collecting nectar, ladybugs eating mites, snails mating, spiders wrapping their catch, a scarab beetle relentlessly pushing its ball of dung uphill, endless lines of caterpillars, an underwater spider creating an air bubble to live in, and a mosquito hatching.
Bondi Icebergs is the most photographed pool in the world. This is where generations of children have learnt to swim, where the diehard have braved the frigid waters of one hundred winters, where the young and beautiful have come to bond and bake in the hot sun. THE POOL is a stunning cinematic experience with a soundtrack that harks back to the 1960s and a cast of characters who each have a story to tell. It speaks to the enduring power of community and our collective longing to find it. No matter your background or where you’re at – everyone is equal in their swimsuits.
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.
Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.
An encounter with the last shamans of Bolivia's Beni River Valley brings the audience on an intimate spiritual journey through the Amazon Rainforest. Navigating the viewer through lush landscapes on a ritual of transcendence and forgiveness, this experimental documentary recreates for audiences the experience of the potent and sacred Ayahuasca Vine.
A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.
From high up in the glacier-carved mountains of Northern Spain, towards the Atlantic Ocean in the cities of Porto and V.N.Gaia in Northern Portugal. A journey through a river and through sound.