One of Michael Snow's earliest experimental works, Rameau’s Nephew by Diderot (Thanx To Dennis Young) By Wilma Schoen (1974), presents 26 successive scenes, each one a variation in the relationship between sound and image.
Trained as a musician and ethnologist, Sara Gómez’s docu-romance-drama was the first Cuban feature film directed by a woman.
This uncompromising portrait of domestic turmoil details the emotional breakdown of a suburban housewife and her family’s struggle to save her from herself.
Nightclub singer La Paloma (Ingrid Caven) succumbs to the persistent courting of a chubby rich admirer (Peter Kern) and marries him. Before the marriage, she was thought to be dying, but soon she is well.
In this intensely intimate film, documentary filmmaker Kazuo Hara visits his ex-girlfriend Miyuki and records her new relationships.
A farcical, anti-imperialist Western set in the barren and empty urban landscape left by the demolishment of Les Halles in Paris.
In Vakantie van de filmer, van der Keuken brings together various audio and visual material: memories of an elderly married couple, personal holiday photos, the saxophonist Ben Webster, poems and a portrait of his grandfather who introduced him to the world of photography.
King Arthur learns about his wife’s, Queen Guinevere, affair with Lancelot, who at the same time remains loyal to the king, particularly after Arthur's traitorous nephew Mordred commits an attempt on his life.
This silent film consists of a series of fragmentary moments featuring three women (Jean Seberg, Tina Aumont and Nico) and, occasionally, a man (Laurent Terzieff) in an apartment. Moments from daily life: conversations, psychodramas.
Late 19th century in Norway. Edvard Munch is a promising young painter but he is also a man tormented by his love dramas, the fear of falling ill and tapped by an idea: to be recognized at the height of his talent.
A team of filmmakers in search of a theme to deal with questions young Casablancans about their expectations and their relationship to Moroccan cinema.
“In the spring of 1974, the bourgeois government, with Defense Minister Brøndum, planned a veritable campaign against the newly established sanctuary Christiania. No less than 60 houses would have been demolished, with the grounds that they were flammable and in poor construction condition.
“Rivette’s film […] focuses not on women as sexual objects but as the desiring subjects of the narrative. The two female protagonists do not conform to a male fantasy, rather it is their own fantasies which dynamise and direct the film the inhabit.
Ô mes petites amoureuses,
Que je vous hais!
Plaquez de fouffes douloureuses
Vos tétons laids!
Arthur Rimbaud, ‘Mes petites amoureuses’, 1871
“I find women more interesting. They don’t interest me just because they’re oppressed – it’s not that simple.
A slow–dripping tap disturbs the reflection of clouds seen through the window.
“In 1973 Antonio Reis devotes a film to the drawing work of a peasant, Jaime Fernandes, shot in the place of his psychiatric isolation.
« Je, tu, il, elle est un film unique, pour moi : il reste extrêmement fort parce qu’il est fait avec sa chair, sa peau, sa vie. Quand on dit que quelqu’un a tout mis dans un film, on peut dire qu’elle a effectivement toujours tout mis dans son cinéma, sans artifice. »
“Sinds Dagboek probeer ik in de montage zoveel mogelijk het begin van de zoombeweging af te snijden – het is dus geen shot dat begint te bewegen, het is een beweging die er al is. Het shot ervoor is vaak een stilstaand shot.