
Devil's Playground
★ 6.6 · 2002 · 77m · Documentary
The Devil's Playground is a fascinating and moving documentary about a little-known aspect of Amish life. Amish are not permitted to join the church until their late teens, and have to do so of their own volition. The film explores Rumspringa, wherein young Amish are given the opportunity to explore the "English" way of life.
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The Story of the Amazing Live Sea-Monkeys is the colourful and surprising true story of a man named Harold von Braunhut; a man who could look at the humblest of creatures – the brine shrimp – and imagine an empire built upon it. Breezy, colourful short about a half-century of marketing directly to children, the force of nostalgia in pop culture, and an unlikely meeting of flimflam and hard science.
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There is No Death For Me
2000 · ★ 8.5
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Warrior: The Life of Leonard Peltier
1991 · ★ 10
An intimate exploration of the circumstances surrounding the incarceration of Native American activist Leonard Peltier, convicted of murder in 1977, with commentary from those involved, including Peltier himself.
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2005 · ★ 7
A compilation of found footage from musicals, home movies, animated shorts, educational films, commercials, and propaganda set against pop music from the Third Reich, Hitler's Hitparade presents audiences with an unprecedented experiential collage of Nazi Germany.
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You've Got Beautiful Stairs, You Know...
1986 · ★ 5.9
Short directed by Agnès Varda in 1986 on the occasion of the 50th anniversary of the French Cinematheque, presenting a contrast between the famous stairs from the place along with classic film images also revolving around stairs.
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When asked to make a documentary about her friend’s mother—a Parisian astrologer named Juliane—the filmmaker sets off for Montmartre with a Bolex to craft a portrait of an infectiously exuberant personality and the pre-war apartment she’s called home for 50 years.
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2013 · ★ 6
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Blind Light
2007 · ★ 7
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Magic Mirror
2013
Magic Mirror combines a re-staging of the French Surrealist artist Claude Cahun’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Denied). In Surrealist kaleidoscopic fashion the film creates a weave between image and word, exploring the links between Cahun’s photographs and writing as well as between those of the films of Sarah Pucill, as both artists share similar iconography and concerns.
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