This documentary records Hoaas' personal encounter with the closed society of North Korea. As with her earlier work, Hoaas approaches her film as a cumulation of fragments encompassing different perspectives that together offer a point of entry into a complex society. Her diary-style narration signals her limited personal perspective into this culture, especially given the brief filming period and her difficulty in breaking through the facade of the showcase version of Korea insisted upon by her official guides. Hoaas' restricted visual access, and her reluctance to present over-familiar images of the hardship and depravation informed her decision to use this narrative device to frame her film within the context of the famine crisis that began in 1997 following the failure of crops caused by two consecutive years of heavy flooding.
An examination of four different films which to varying degrees center on a prop or an object or an item that crosses various characters' lives and passes from hand to hand. The story in each film is, to a certain extent, told from the point of view of the object which can neither speak nor evaluate the actions of the characters whose lives it touches and influences. The films? MME DE..., WINCHESTER '73, VIRDIANA and AU HASARD BALTHAZAR.
Claude Monet was an avid horticulturist and arguably the most important painter of gardens in the history of art, but he was not alone. Great artists like Van Gogh, Bonnard, Sorolla, Sargent, Pissarro and Matisse all saw the garden as a powerful subject for their art. These great artists, along with many other famous names, feature in an innovative and extensive exhibition from The Royal Academy of Arts, London.
Milan, like Paris or Stuttgart, and like many other European cities, is the theater of the drama of immigration. Demba reconstructs his story and that of his brother Yaro, both Senegalese immigrants in Italy, in a long and fragmentary flashback that begins with Yaro’s murder and recounts their departure from the village, arrival in Europe, the work they find selling lighters and picking tomatoes in the south of Italy: the stages every “non-EEC citizen” goes through in Italy.
Based on photographer William Yang's one man stage show, "Sadness" chronicles two diverging narratives through the use of slide photography, oral history and stylised recreation. One story follows Yang's pilgrimage into the heart of the North Queensland sugar cane fields as he investigates the murder of his uncle Fang Yuen. The other is a series of moving portraits of the many friends and lovers Yang has lost to AIDS. Director Tony Ayres skillfully weaves these two separate stories together creating a powerful testament to family, friends, love and loss. Cinematography by Tristan Milani. Narrated by William Yang.
In 2013, seventeen-year-old Rehtaeh Parsons took her own life. The Halifax teenager had been gang-raped a year and a half earlier by her classmates and labeled a "slut" as a result. Despite transferring schools many times, she could not escape constant cyber harassment and in-person bullying. Rehtaeh's is not the only story like this to make headlines in recent years. Why is the sexual shaming of girls and women, including sexual assault victims, still so prevalent in the United States and Canada?
Set in Rio de Janeiro's most notorious favelas, the underprivileged youth share their perspective on the extremely popular, pornographic favela funk music with respect to their personal (love) lives, situated in a lawless subculture of drug gangs, machismo, violence and sex.
With over 300 million firearms, the U.S. holds the highest rate of gun ownership per capita in the world. Meanwhile, with each gun-related tragedy, the question remains whether to regulate or to arm. Increasing demand, illegal distribution and emerging 3D technologies threaten to upend the traditional debate of gun control. As discussed in interviews from Austin to Grand Rapids, Denver to New York City, NO CONTROL seeks to address the efficacy of gun laws and the ongoing debate between personal freedom and public safety in a candid discussion of one of the most complex, contentious issues in American history.
IN LIMBO s a documentary essay that questions the world of memory that we are all building, through the everyday digitization of our lives and our environment. The voice of a mysterious spirit (embodied by Nancy Huston) wakes up in the maze of data centers which makes up the global network. As though there were nothing left on Earth but this huge machine, still running. Diving into her memory, she is fascinated by the strange life that lies within, inhabited by ghostly characters (the Internet's founding fathers, Google CEOs, digital librarians, etc). Enchanted by the promises of this world, she abandons herself into it. Pure soul, she wanders through this after-life, attempting to once more experience the essence of nostalgia.
Once there was an age of ice but it is disappearing. This is a lyrical and thought-provoking film about the death of an era and a moment in time. A time when stoic creatures are caught in between what once was and what will inevitably come.
In colonial Australia, James Morrison is a young teamster who has two friends, Long and Short. He is betrothed to Jane Judd when he visits Sydney and meets fiery Irish girl Biddy O'Shea, who is just off the "wife ship" – a boatload of women from an Irish orphanage bought out to Australia. James is attracted to Biddy and promises to marry her. James returns to Bathurst to break the news to Jane, but his mother dies and makes James promise to marry her daughter. He feels obliged to honour his old commitment to Jane.
It's a hot summer day in June, 1969. Marsha throws herself a birthday party and dreams of performing at a club in town, but no one shows up. Sylvia, Marsha’s best friend, distraught from an unsuccessful introduction between her lover and her family, gets so stoned she forgets about the party. Marsha, Sylvia, and friends eventually meet at the Stonewall Inn to celebrate Marsha's birth. When the police arrive to raid the bar, Marsha and Sylvia are among the first to fight back.
Like many Japanese Americans released from WWII internment camps, the young Omori sisters did their best to erase the memories and scars of life under confinement. Fifty years later acclaimed filmmaker Emiko Omori asks her older sister and other detainees to reflect on the personal and political consequences of internment. From the exuberant recollections of a typical teenager, to the simmering rage of citizens forced to sign loyalty oaths, Omori renders a poetic and illuminating picture of a deeply troubling chapter in American history.
In 1955, as a hotly contested hockey season was coming to an end, the star of the Montreal Canadiens, Maurice "the Rocket" Richard, was suspended for attacking an opponent with a stick and hitting a referee by then president of the NHL Clarence Campbell. This set off a huge riot in the streets of Montreal. The documentary claims, unconvincingly, that this event added to the sparks of the political revolution in Quebec that led to the rise of the separatist movement.
An educational physics film utilizing a fascinating set consisting of a rotating table and furniture occupying surprisingly unpredictable spots within the viewing area, Leacock’s Frames of Reference (1960), features fine cinematography by Abraham Morochnik, and funny narration by University of Toronto professors Donald Ivey and Patterson Hume, in a wonderful example of the fun a creative team of filmmakers can have with a subject other, less imaginative types might find pedestrian.
Corporations, billionaires and free-market ideologues see dollar signs when they look at American public schools. Billions of tax dollars are being diverted away from public school children under the banner of 'school choice.' Dark money contributors are funding free-market reformers to take over local school boards and transform American public education into a business. Parents, teachers and students are fighting back across the country.