Full-length documentary about wedding customs and rites from different parts of Ukraine. This film will immerse the viewer in the world of rich, striking and diverse wedding culture of 8 regions of the country: Kyiv, Cherkasy, Chernihiv, Ivano-Frankivsk, Zakarpattia, Kharkiv, Rivne and Chernivtsi.
When two of artist Barbora Kysilkova’s most valuable paintings are stolen from a gallery at Frogner in Oslo, the police are able to find the thief after a few days, but the paintings are nowhere to be found. Barbora goes to the trial in hopes of finding clues, but instead she ends up asking the thief if she can paint a portrait of him. This will be the start of a very unusual friendship. Over three years, the cinematic documentary follows the incredible story of the artist looking for her stolen paintings, while at the same time turning the thief into art.
The possible consolation of losing someone is perhaps hope. After they grieve the death of their parents, Manong and Ading will once again suffer anguish because someone who is very dear to them goes missing. Due to their fear of losing another loved one, they go for a quest. Will they be successful in their search or will they be condemned to lose for another time? The Rural Agents, a film about Ilocano life and culture that was written and produced by Gabriel Gantala, 22, from Sarrat, Ilocos Norte. It became one of the top 100 films included in the Hollywood Venus Awards (HVA) for 2020 official selection, outshining more than 1,000 other films from all over the world.
Filmed in Cordoba, Granada, Seville, and Toledo, this documentary retraces the 800-year period in medieval Spain when Muslims, Christians, and Jews forged a common cultural identity that frequently transcended their religious differences, revealing what made this rare and fruitful collaboration possible, and what ultimately tore it apart.
A short look into the minds of Melbournes graffiti writers and the relationship Melbourne has with its adopted graffiti culture.
The movie explores the origin of the Ukrainian language and persecution of those who defended its authenticity. Using examples of other countries, creators of the film prove that a nation cannot exist without a language.
Whether political, sociological or social questions. In one's own life and that of others. Living, eating, loving. In art and philosophy. Everywhere man asks the question of "naturalness". How do I behave naturally? Do I have to behave naturally? What is natural? What is nature? This question occupies the most diverse people, have the most varied traits and characteristics. Man and woman as natural order or structures created by man? Meat consumption as natural predator behavior or factory farming? Nature-related living and urban planning? The topic covers all questions of human life. In this short film, this question should be discussed abstractly. Not by specific subject-relatedness, but by the juxtaposition of subjective ideas about the abstract nature of nature from the perspective of a Western white man.
“How To Bury A Dead Cat” centers on 4 children of various ethnicities as they run around their neighbourhood to find a way to bury a dead cat found nearby their frequent playground and void deck. As the story unfolds, each child learns of the other’s culture and religion benignly as they get lost and confused in the teachings passed down from their parents, exchanging and questioning which method is the real way of sending the dead cat off into the afterlife. As the day comes to a close their worried parents went looking for them only to find their children crying and torn over the loss of the cat’s life at a police station. The parents, after much discussion, decided to put aside their differences and combined all their ornaments together while burying the dead cat in favour of their children’s happiness. A Viddsee Original Production
The Richardson Olmsted Campus, a former psychiatric center and National Historic Landmark, is seeing new life as it undergoes restoration and adaptation to a modern use.
VIVA LA VULVA is a documentary film that casts a glance right into the centre of female sexuality – historically, culturally, and politically. With a sense of humour, but earnestly and profoundly it examines this very symbol and indicator of women's self-determination, a mystic source of life and anarchic threat to patriarchal systems. Made a symbol of the forbidden, the vulva is attributed its due cultural significance only by being heavily negated, while its fictitious existence as a focus of male sexual phantasies and the pressure to adapt exerted on women make it a significant economic factor. From church to psychoanalysis: what women carry between their legs seems second-rate to the primacy of the penis. But VIVA LA VULVA can also give hope to those awaiting a turn towards a self-determined female sexuality and a new, confident self-definition of women. Not deadly serious, but with informative verve we tell the tale of the new self-awareness of the female sex.
In 2016 eleven young men from Parade Gardens in Kingston, Jamaica travelled to Scotland for the first time, bringing their powerful parkour performance Run Free to the National Theatre of Scotland’s Home/Away festival. Now the story of their journey is told in a heart-warming new documentary film. Run Free: The Documentary shows the struggles and triumphs of these young men as they create a piece of theatre that impacts both them and their community, a journey that saw them travel across the world, many for the first time, from the streets of Kingston to the international stage. Run Free was developed as part of the National Theatre of Scotland’s pioneering Jump programme. Originally presented by the National Theatre of Scotland, British Council, and Manifesto Jamaica, under the creative guidance of directors Simon Sharkey, Brian Johnson, and choreographer Liane Williams.
Akerman, Monteiro, Oliveira, Ruiz, Schroeter and Wenders are among the directors he produced: Deux, trois fois Branco is a portrait of Portuguese producer Paulo Branco, between life and legend.
A five-year visual ethnography of traditional yet practical orchestration of Semana Santa in a small town where religious woodcarving is the livelihood. An experiential film on neocolonial Philippines’ interpretation of Saints and Gods through many forms of rituals and iconographies, exposing wood as raw material that undergoes production processes before becoming a spiritual object of devotion. - A sculpture believed to have been imported in town during Spanish colonial conquest, locally known as Mahal na Señor Sepulcro, is celebrating its 500 years. Meanwhile, composed of non-actors, Senakulo re-enacts the sufferings and death of Jesus. As the local community yearly unites to commemorate the Passion of Christ, a laborious journey unfolds following local craftsmen in transforming blocks of wood into a larger than life Jesus crucified on a 12-ft cross.
Tensions, along with demons from the past, rise as a young farmer, the mashgiach (kosher supervisor) and the local Rabbi try to decide what to do about the mysterious illness infecting the cattle.
All Creatures Welcome explores the world of hackers and nerds at the events of the Chaos Computer Club, Europe's largest hacker association. The film dispels common clichés and draws a utopian picture of a possible society in the digital age.
Palfinger has to work on a case again with Mur from Bavaria, because the Bavarian sausage king Gschwandtner was found murdered in his villa in Salzburg. One of his Romanian foster children, seven-year-old Tyki, has disappeared while the fingerprints of Tyki's older sister Liana were found on the murder weapon. The investigators dive behind the intact family backdrop into an abyss of hatred, greed, betrayal and deception.
Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.