Director Pasolini traverses Italy in 1963 with camera and microphone interviewing people in public places about sex, marriage and gender roles.
Hired as a maid by a rich family in Normandy, Celestine is forced to undergo the unpleasant habits of her insufferable hosts. Their obsessions and perversions lay bare the right-wing, fascist worldview of the provincial bourgeoisie in 1920s France.
How does a blind child percieve reality ? In order to explore this mystery, Johan Van der Keuken spent two months in a specialised institution in the Netherlands.
After Méditeranée, Pollet returns to Bassae, a Greek archeological site located in the heart of the Peloponnesian peninsula.
“Suzuki Satsuo’s skilfully manipulated hand-held camera with a long lens is meticulous, at times sentimental, at times bold, focusing on his subject in a way that seems as though it were composing a melody with images. On the Road showed us a new, powerful type of image.
In 1962 verscherpte de Japanse nationale spoorwegmaatschappij (JNR) de werkschema’s om een antwoord te bieden op de congestie op het spoor die veroorzaakt werd door een nieuwe sneltrein en het goederentransport in aanloop naar de Olympische Spelen van 1964.
« Dreyer a pressenti le cinéma futur car il a eu la force de filmer la parole. »
Manoel de Oliveira1
“[Our film] will have a personal style. Not orthodox or academic. Not a social document or a militant or revolutionary film or with a message or a solution. Not educational. The film is not commissioned by the unions or by the department of urbanization of the municipality of Valparaiso.
Mécanicien: J’aime pas l’opéra. Le ciné, c’est mieux ! Tous ces gens qui chantent, tu comprends, ça me fait mal. J’aime mieux l’ciné !
Mme Emery: Ne pleure pas ! Regarde-moi. On ne meurt d'’amour qu’au cinéma.
“Unlike The Birth of a Nation, Battleship Potemkin, or Triumph of the Will, I Am Cuba is not a nationalist call to arms.
“Andy Warhol is taking cinema back to its origins, to the days of Lumière, for a rejuvenation and a cleansing. In his work, he has abandoned all the ‘cinematic’ form and subject adornments that cinema had gathered around itself until now.
