Leaving Europe to look for Akiko, Jean-Noël discovers her city, the exotic Tokyo.
Nausicaä, a warrior princess from the Valley of the Wind, finds herself caught in a war between two warring nations. Meanwhile, a toxic wasteland containing enraged giant insects encroaches the land.
In 1984, not far away from the psychiatric hospital of the Martquis de Sade in Charenton, Thomas Harlan (the son of Veit Harlan) is shooting Wundkanal, a filmquestioning whose protagonist is Alfred Filbert, the ex Vice Commandant of the Nazi SS in person, who by then was over eighty years old
“I thought fishermen were people who were never afraid of the sea. People would laugh at me and say: ‘Even if we do not say it, our fear is growing day by day.’ They know the depth of the sea, the best times to go fishing.
Kanai Katsu: Then there’s Furuyashikimura, which I really like. What was it like making a documentary after such a long time?
“Made as a ‘twin’ of A ilha dos amores, A ilha de Moraes is a poetic documentary on the enigmatic life of Wenceslau de Moraes, the great Portuguese writer who, like Paulo Rocha himself, had a profound fascination for Asian cultures and lived in Japan from 1912 until his death in
Counterpart of Love in the Afternoon from the point of view of I. (1) She likes to go out. He doesn’t. Besides, she sees that she likes to go out without him. He plays a sport she doesn’t like. She goes out with K., pretending they are a couple. But she would like not to go home.
Jim Jennings: Really, all I’m doing is framing. It’s what I’m doing all the time – framing this, framing that, framing. It’s what Ernie was teaching. It’s all about composition. This feels balanced. I like this composition; I don’t like that composition. Why? There’s no reason.
“Experienced shunters working at the Dresden-Friedrichstadt goods yard. In all weathers, day and night, they couple and uncouple the wagons.
« Mais dans le cas précis de Mémoires, l’articulation entre art et politique est immédiate, et insupportable. Nous sommes au coeur du présent. Et le propos est immédiatement politique.
“Je moet alleen doen waar je echt zin in hebt, zei ze me. Als je als toneelregisseur enkel zin hebt om Tsjechows stukken te ensceneren, omdat je dat het mooiste vindt van wat er ooit voor het toneel geschreven is, dan doe je dat toch, zegt ze.
“In the early 1980s, Diego Echeverria took a 16mm camera into the streets of South Williamsburg, then a primarily Puerto Rican neighborhood and one of the city’s poorest, most crime-ridden areas.
“Children witherin’ away up here, brother, worshippin’ the idol of capital, lustin’ after the false salvation of here and now. Black brother and sister perishin’ up here, mon, waiting for scrap from oppressor table. Oppressor got us for house pet; do him tricks to get reward.