Muskarin-Vergiftung und ihre Beseitigung durch Atropin bei der Katze
1941 · 7m · Documentary
Parasympathetic irritation is generated in the test animal by subcutaneous injection of muscarine. Salivary secretion, miosis, convulsive evacuation of thin feces and severe shortness of breath as signs of intoxication with a parasympathomimetic. The symptoms of intoxication are reversed by subcutaneous injection of atropine.
More Like This
Berlin: Symphony of a Great City
1927 · ★ 7.5
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
More info →
Visibles
2018
Society has created a stereotype of the LGTBQ collective in which its members are young people who are fashionable, who have money, who have a lot of fun and who never pass the age of forty. But where are the older ones? When they reach that age, do they evaporate? This documentary makes visible a little-discussed topic: old age.
More info →
Heat
2018
Too hot! The spawning fish do not come at the right time and the pepper plants end up dying in this heat. "This is a very different weather that not even the spirits can understand." From their gardens, homes, and backyards, the indigenous women of the Amazon involve us in their vast universe of knowledge while they observe the impacts of climate change in their ways of life.
More info →
Dinosaurios en 3D
2012
Not so long ago there were monumental movie theaters in the streets and avenues of Madrid, the capital of Spain, authentic cathedrals erected during the golden age of film exhibition, now converted into 3D dinosaurs, whose remains speak of the past and somehow anticipate the future.
More info →Skid Row
1956 · ★ 9
A day and night in the life of three alcoholic derelicts: "and the meek shall inherit the earth - six feet of it".
More info →
Brasilia, Contradictions of a New City
1968 · ★ 7.7
In 1967, de Andrade was invited by the Italian company Olivetti to produce a documentary on the new Brazilian capital city of Brasília. Constructed during the latter half of the 1950s and founded in 1960, the city was part of an effort to populate Brazil’s vast interior region and was to be the embodiment of democratic urban planning, free from the class divisions and inequalities that characterize so many metropolises. Unsurprisingly, Brasília, Contradições de uma Cidade Nova (Brasília, Contradictions of a New City, 1968) revealed Brasília to be utopic only for the wealthy, replicating the same social problems present in every Brazilian city. (Senses of Cinema)
More info →
The Master of Apipucos
1959 · ★ 6.8
Documentary about influential Brazilian sociologist Gilberto Freyre, made in his country house in Apipucos, Pernambuco (Northeast Brazil).
More info →
Land Without Bread
1933 · ★ 7.1
An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.
More info →
Aagaman
1980 · ★ 5.8
To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film.
More info →
Antigravitation
1995 · ★ 5.2
An isolated village in the Lithuanian countryside. Seated in her house, an elderly woman recites an old folk story. Then she climbs up the tall ladder that takes her to the rooftop of the church.
More info →
Larisa
1980 · ★ 6.3
Elem Klimov's tribute to his late wife, director Larisa Shepitko, killed in a car accident a year earlier. Features excerpts from all of her films, and archival audio of her discussing life and art.
More info →
The Poet of the Castle
1959 · ★ 6.9
A 10-minute portrait of modernist poet and de Andrade’s godfather, Manuel Bandeira, is clear in its affection for it subject, though like many New-Waveish films of the time, depicts the modern urban landscape as an ominous and alienating force.
More info →