Poisoning Paradise
β 7 Β· 2017 Β· 77m Β· Documentary
Journey to the seemingly idyllic world of Native Hawaiians, whose communities are surrounded by experimental test sites for genetically engineered seed corn and pesticides sprayed upwind of their homes, schools, hospitals, and shorelines.
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Olympia Part Two: Festival of Beauty
1938 Β· β 6.7
Part two of Leni Riefenstahl's monumental examination of the 1938 Olympic Games, the cameras leave the main stadium and venture into the many halls and fields deployed for such sports as fencing, polo, cycling, and the modern pentathlon, which was won by American Glenn Morris.
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A Portrait of Us
2022
A short documentary that follows Korean grandparents as they share their modern-day reckoning of their immigration story and grandparenthood.
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John Ford & Monument Valley
2013 Β· β 1
John Wayne, Henry Fonda and James Stewart discuss working with John Ford
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Vera Klement: Blunt Edge
2010
As her 80th birthday is approaching, Vera Klement, an oil painter in Chicago, adamantly starts yet another new figure painting: a portrait of an artist under oppression, an homage to Russian composer, Dmitri Shostakovitch.
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Sheep Coming Through Chute, Humuula Ranch, Hawaii
1906
Sheep bound through a narrow opening, followed by a panoramic vista of the flock running through a meadow.
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Cycling the Frame
1988 Β· β 6.7
In 1988, Tilda Swinton toured round the Berlin Wall on a bicycle - starting and ending at the Brandenburg Gate - accompanied by filmmaker Cynthia Beatt. As Swinton travels through fields and historic neighborhoods, past lakes and massive concrete apartment buildings, the Wall is a constant presence.
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Olympia Part One: Festival of the Nations
1938 Β· β 6.9
Starting with a long and lyrical overture, evoking the origins of the Olympic Games in ancient Greece, Riefenstahl covers twenty-one athletic events in the first half of this two-part love letter to the human body and spirit, culminating with the marathon, where Jesse Owens became the first track and field athlete to win four gold medals in a single Olympics.
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Boulevard's End
2014
This short documentary focuses on the very end of Washington Boulevard, where the city of Los Angeles meets the ocean and the Venice Pier begins. The rough and simplistic concrete pier braves pacific storms and provides stillness and stability. People come to walk, to fish and ease their minds. The film takes a closer look at the diverse people all around the pier. Among them the filmmakers find two citizens, both immigrants, who take us on their personal journey through history.
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Kurosawa's Way
2011 Β· β 5.8
Eleven major film makers from Europe, America and Asia talk about Akira Kurosawa and discover surprising influences on their own work.
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2001 Β· β 10
A feature-length documentary on Yvonne Bezerra de Mello, award-winning artist and human-rights activist who has gained international recognition for her work with street children in Rio. The film recounts how a woman turned her back on a wealthy lifestyle, driven into action by the execution of 8 streetkids by military police in 1993. In subsequent years Yvonne's struggle to better the lives of endangered and abandoned children has led her to found "Projeto Uere" ("Children of Light") a radical project committed to protection and education of kids who live in the streets and slums of Rio which has brought her into conflict with Brazil's wealthy elite.
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The Good Son
2012 Β· β 2.6
The unbelievable story of 22 year old Or, who secretly finances his sex change operation in Thailand by lying to his conservative parents and then returns home as a woman to face her new life, her family and the cost of living her dream
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Scar Tissue
1979 Β· β 6
Scar Tissue by Su Friedrich is a filmic version of a white canvas or a silent music piece.The fact that Friedrich never really shows the whole body, but rather plays off of body parts could be read as a desire to show less of the people on the screen, so that the viewer's reading can be generalized. If the "characters" existed as people, the images would inevitably read to be telling a story about these people. The legs and torsos do not signify people; it is the experience of these body parts and the rhythm with which they are portrayed that constitute the work.
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