The controversial Doctor of Philosophy and YouTuber Antonín Dolák lies in the timelessness of his bare room on the top floor of an unnamed villa. Because of his work, he has been expelled from the University of Ostrava, as well as from lectures at DAMU and other institutions. He has offended everyone and has resigned from everything else; he no longer seeks the Truth with a capital T – artificial intelligence will surely do it for us. The final blow for him was the deletion of his channel, which had a ten-year history: from philosophical lectures to provocative anti-art and childish philosophical theater. To some fans he is a self-centered parasite while for others he is a kind of virtual fiction on the internet that they cannot imagine as part of the shared world. Is there anything left about Dolák that is lovable? Is there anything sacred to him? Crippling loneliness sets in.
Archival films from 1950s Kenya turn settler home windows into a lens on the Mau Mau uprising, revealing how British and American movies framed anti-colonial resistance as the villains of a Western.
As happens to Simone, who was already the protagonist 11 years ago – he was portrayed back then with the other men of the Ciliberti family in the previous film *L'albero di trasmissione* – forced to close his workshop and with it his creations made from scrap, emblems of an unproductive inventiveness, of a fragile but realized utopia. It seems, however, that living on the margins of the present, in a precariousness that is a choice and not a misfortune, is a freedom that is no longer permitted. This new work by Fabrizio Bellomo is a biographical film (about a man, a nonconformist, and his neighborhood), which is at the same time a sequel and itself a film within a film, but also and above all a reflection on the role of cinema towards its subjects and on the humanist mandate of documentary.
"Trànsit" is a journey through a city that never lets us stay. Between the noise of the subway and the silence of empty streets, the short film captures the feeling of not belonging to any neighborhood, of living always in transit.
When Rodrigo was a child, he would eat at his grandmother Marité's house and wait until his aunt Montse came home from work. Without sitting down, Montse would fill a plastic bag with a loaf of bread, a container of food, empty plastic bottles, and a hot brick wrapped in newspaper. She was going to take the food to someone. One day, she decided to take Rodrigo with her on one condition: no talking. Eighteen years later, he remembers nothing.
Saltar is a documentary essay that breaks the silence surrounding suicide to explore the reality of a region with the highest suicide rate in the country. Through different characters, places, and situations, we learn how suicide is experienced when it has become relatively commonplace.
The starting point is an excerpt from the Albanian feature film "Qyteti me i ri ne bote" (Xhanfise Keko 1974, EN: "The Youngest City in the World"), in which a boy dreams of a modern city where progress and change are represented by construction and sealing. The film revolves around the historical and current transformation processes of urban space and reflects on the power of images, historical and contemporary utopias, and their interplay with architecture. An essay on new and contemporary utopias and their interplay with architecture. The film revolves around the historical and current processes of transformation in urban space and reflects on the power of images, historical and contemporary utopias, and their interplay with architecture. An essay on new and old regimes, power, propaganda, and the accessibility of public space.
This groundbreaking documentary unlocks the hidden psychology of J.M.W. Turner through his 37,000 private sketches, drawings, and watercolours – an extraordinary archive that reveals the man behind the masterpieces. For the first time on television, these pages – Including erotic sketches previously thought to have been destroyed – are used as a window into Turner’s inner world, exposing his private thoughts, creative obsessions and emotional life. Rarely writing about himself, Turner left behind few clues to his personality. But in his sketchbooks, his restless imagination and vulnerabilities come vividly to life. They guide viewers through Turner’s life and art, revealing how his 37,000 sketches not only chart his creative evolution but also provide an unprecedented psychological portrait of a man both visionary and vulnerable.
Anna Osborn and Sonia Rockhouse were forever changed when the Pike River Mine Disaster stole their loved ones, but instead of sitting down, they stood up! But They Did tells Anna and Sonia's story, following them through the period of time before and during the re-entry of the mine.
Victoria travels back in time to understand what defines her as a woman and is confronted with the grief of losing her friend Meril. The film becomes a space to share her pain and the memories of her surgery with Athena and Aamina, who are themselves at the beginning of their own transition journeys. Returning to Thailand, they set out in search of the ghosts of the past and a better future.
In the midst of the Civil War, President Lincoln went to Gettysburg. "The Gettysburg Address" investigates the five extant copies of Lincoln's famous speech, separating fact from fiction along the way. Lincoln's greater journey to Gettysburg is chronicled, from his early anti-slavery sentiments as a poor farmer's son to his rousing orations as one of America's greatest leaders.
In this in-depth analysis of controversial artist, director and sex pervert, Warner Warnerton, we are painted a picture of obsession, abuse, and mental Illness by Doctor Beef Wellington.