Diane Fordová, byla vždycky tvrdá nátura, a proto také nakonec skončila za volantem velkého náklaďáku, putujícího napříč celými Spojenými státy. Nezabránil ji v tom ani její malý syn, ani milující manžel. Oba jednoho dne opustila, protože pochopila, že „obyčejný“ život v domácnosti by ji postupně zahubil, a raději si šla vlastní cestou, ačkoli podobné stezky většinou náležejí mužům. Nyní ale její relativně spokojený život v kabině trucku, za velkým volantem skončí. Diane totiž dostihuje zpráva, že její manžel umírá na rakovinu. A tak se nyní musí postarat o dospívajícího chlapce, přestože ten svoji matku už jen ze srdce nenávidí.
Doubling as a cartography of the ever-changing city, Bill Cunningham New York portrays the secluded pioneer of street fashion with grace and heart.
An emotional thriller based on a road trip from Kochi to Palakkad. Inspired from the real events that happened in Chennai.
A brain-dead youth's family agrees to donate his heart to a girl who needs an immediate heart transplant. A disparate group of people decide to complete this task by racing against time.
Four city boys rich in experience but undeniably penniless, meet rich and pretty girls from an up scale suburb. With nothing but sense of humor and confidence, they try their luck to get the hearts of these Alabang Girls.
Hrdinou americké romantické komedie režiséra Bryana Gordona je Charlie Dunlap, jehož rodiče ho zplodili na zadním sedadle automobilu a možná právě proto se jeho celoživotním osudem stala doprava a cestování. Zatímco kamarádi ze školy sledují sportovní zápasy, Charlie shromažďuje data o dopravě. A také se zamiluje do Amy, s níž celé hodiny sleduje ze silničního nadjezdu kolony aut. Jenže dívka odchází na studia, Charlie se přestěhuje do LA, a i když se po čtyřech letech náhodou setkají, osud je opět rozdělí. Dívka, která ve volném čase tančí v experimentální skupině a nechce se vzdát turné, namluví Charliemu, že si našla jiného. Ten si na oplátku začne románek se svou bytnou, jenže skutečné lásce se poručit nedá…
Bikes vs Cars depicts a global crisis that we all deep down know we need to talk about: Climate, earth's resources, cities where the entire surface is consumed by the car. An ever-growing, dirty, noisy traffic chaos. The bike is a great tool for change, but the powerful interests who gain from the private car invest billions each year on lobbying and advertising to protect their business. In the film we meet activists and thinkers who are fighting for better cities, who refuse to stop riding despite the increasing number killed in traffic.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical Red is part of a trio of video works that are a series of dream-like moving pictures.
A classic "B" featurette about "smugglin' in Chinamen for $300 a load"
Animals of Maple Town teach you about traffic safety and how to properly follow traffic laws and rules.
The BQE is a mixed-media artistic exploration of the Brooklyn-Queens Expressway of New York City by Sufjan Stevens. A cinematic suite inspired by the Brooklyn-Queens Expressway and the Hula-Hoop, and commissioned by Brooklyn Academy of Music, it was originally performed in the Howard Gilman Opera House in celebration of the 25th anniversary Next Wave Festival in October of 2007.
Stories of serious traffic accidents caused by texting and driving are told by the perpetrators and surviving victims.
This "Theater of Life" series short looks at traffic problems in Los Angeles, California, as described and experienced by Sgt. Charles Reineke, a traffic enforcement officer with the Los Angeles Police Department.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical Wide is part of a trio of video works that are a series of dream-like moving pictures.
A documentary that explores the life of one of the world's most populated cities from its streets. Shot in 2009-2012 (before and during the Egyptian revolution, and ending with the most recent presidential elections), the film explores the country's collective identity, inherent struggles, and the sentiments that lead through the historic changes taking place in Egypt today. For his third documentary, Egyptian/ American filmmaker Sherief Elkatsha rides through the congested streets alongside a diverse cast of characters-from taxi drivers to ambulances, from traffic cops to private citizens-capturing the unspoken codes of conduct, frustrations, humor, fatalism, and life-or-death decisions of driving in a city where the only rule is: there are no rules.
Girl and her boyfriend are kidnapped. She develops a strange attraction to her kidnapper and the two get involved.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical White is part of a trio of video works that are a series of dream-like moving pictures.
