Return to Manila: Filipino Cinema / 2010

Documentary about the history of Philippine cinema.

Cinéma-Cinéma / 1969

A tragic spin on the futility of revolution, in cinema and elsewhere.

Dans un cinéma près de chez vous / 2024

The Outsider - The Cinema of Antonio Margheriti / 2013

Documentary on the life and films of Antonio Margheriti.

Cinema Through the Eye of Magnum / 2017

The film tells the story of the intimate and unprecedented encounter between the photojournalists of the Magnum Agency and the world of cinema. The confrontation of two seemingly opposite worlds – fiction and reality. For 70 years their paths crossed: a family of photographers, amongst them the biggest names in photography, and a family of actors and filmmakers who helped write the history of cinema, from John Huston to Marilyn Monroe to Orson Welles, Kate Winslet and Sean Penn.

Ozualdo Candeias and the Cinema / 2013

Using a mixture of film clips and interviews with Ozualdo Candeias himself the film tells the director's 40 year trajectory.

Sex In Philippine Cinema 1 / 2004

Arouse your curiosity. Take off your inhibitions. Disrobe your desires. Soak up in the most steamy scenes ever to scorch the screens. Revel on Rosanna, Sizzle with Sunshine. Jack it up with Joyce. Risk it with Rica. Mash it with Maui. Pant over Patricia. Go booba over Rufa. This is raunchfest at its best with the flaming femmes of the Philippine moviedom.

Cinema, Mon Amour / 2016

Follows the story of Viktor Purice - manager, former projectionist and lifetime cinephile and his two loyal employees, Cornelia & Lorena, in their everyday battle to preserve Dacia Panoramic Cinema in Piatra Neamt - one of the last remaining cinemas in Romania today. Having lived through "the golden age" of cinema, Viktor dreams of bringing back the good old glory days, yet struggles to keep up with the new harsh reality. In a theater that lacks heating and is slowly falling apart, with no support from the State who owns the place, it’s almost a Don Quixote fight.

Cinema de Enredo / 2023

How to Die in Cinema / 2002

Memories of a parrot who participated in the filming of the classic Vidas Secas, in 1962, where it was featured along the puppy Baleia.

The Ruins of Cinema Khouri / 2022

Diana, a pregnant architect, is hired to work in the renovation of the old Cinema Khouri, abandoned after the tragic death of a child. However, when she gets trapped inside there, Diana discovers the old cinema is not only alive, but hides an entity that wishes to keep her in there forever.

Fabulous! The Story of Queer Cinema / 2006

A chronological look at films by, for, or about gays and lesbians in the United States, from 1947 to 2005, Kenneth Anger's "Fireworks" to "Brokeback Mountain". Talking heads, anchored by critic and scholar B. Ruby Rich, are interspersed with an advancing timeline and with clips from two dozen films. The narrative groups the pictures around various firsts, movements, and triumphs: experimental films, indie films, sex on screen, outlaw culture and bad guys, lesbian lovers, films about AIDS and dying, emergence of romantic comedy, transgender films, films about diversity and various cultures, documentaries and then mainstream Hollywood drama. What might come next?

Histoire(s) du Cinéma 1a: All the (Hi)stories / 19897.01 voti

Uno sguardo molto personale sulla storia del cinema diretto, scritto e curato da Jean-Luc Godard nella sua residenza svizzera di Rolle per dieci anni (1988-98); un collage monumentale, costruito con frammenti di film, testi e citazioni, foto e dipinti, musica e suoni, e letture diverse; una visione critica, bella e malinconica dell'arte cinematografica.

Sergio Leone: cinema, cinema / 20017.01 voti

La vita e le opere di uno dei grandi maestri del cinema italiano, Sergio Leone (1929-89), in un ricco ed affascinante ritratto. Testimonianze inedite di collaboratori, attori, registi e critici ricostruiscono ogni aspetto della sua attività creativa.

History of a Committed Cinema / 1983

History of a Committed Cinema is a primer for the Nicaraguan audience to what they are watching on the screen. A critique of Western & Hollywood cinema, it outlines the difficult technical, cinematic, and political tasks confronting INCINE (Instituto Nicaragüense de Cine) as it strives to build a native film industry.

Poltrone Rosse - Parma e il cinema / 2014

The relations between Parma and cinema were so strong for almost the whole of the twentieth century that this city became an early laboratory of ideas and theories on cinema and a set chosen by some of the greatest Italian authors and beyond. Furthermore, a considerable number of directors, actors, screenwriters and set designers were born in Parma who have made their way internationally, testifying to the fact that in this small city in Northern Italy there was a decidedly cinematic air. Red armchairs takes up the thread of this story, wondering why, unique among the Italian provincial cities, Parma has given so much to the cinema, accompanying the viewer on a journey backwards that from the first projections of the Lumière cinema reaches the ultramodern experience of new multiplexes. During this journey we will meet the characters who created the conditions for this diffusion of cinematographic culture in Parma.

Stone Age Cinema / 2015

Sweet Thieves / 1977

After assaulting a Hollywood film crew, a group of residents of a community in Rio de Janeiro decided to produce a film that would express the reality of Brazil - with the theme of Inconfidência Mineira.

Benjamin Kling's Interior Cinema / 2022

Benjamin Kling is an audio describer. He translates movies for blind and visually impaired viewers. After more than a hundred audio described films and series and while working on Alfred Hitchcock's Suspicion, he feels the need to question his practice: is he too objective? Does he do justice to the films in all their diversity, in all their art, in the craft of the director? To answer these questions, he decides to meet blind and visually impaired people from different backgrounds. He wants to learn more about their singular way of "watching" films (they insist on saying “watching a movie”) and their expectations about audio description. What can we learn, us as sighted persons, from their way of experiencing cinema?