Mineradores encontram uma substância gosmenta de cheiro e sabor muito atrativos. A substância é servida como sobremesa pelo mundo todo e vira uma coqueluche. Um espião industrial (Michael Moriarty) tenta roubar a fórmula doce, mas descobre algo assustador: o material do qual é feito hospeda um parasita que devora as entranhas de quem o come.
Quando um adolescente desaparece em uma pequena cidade já devastada por um acidente de mineração fatal, três estranhos encontram-se reunidos em um emaranhado de segredos, mentiras e a dor coletiva da comunidade. Recuperando-se o desaparecimento de seu filho, Diane (Elizabeth Banks) percebe se afastar de seu marido (Josh Lucas), um executivo da empresa de mineração, cujo papel no acidente fez sua família o principal alvo para a raiva da cidade. Quando ela forma uma ligação perigosa com o único sobrevivente do desastre (Boyd Holbrook), verdades serão descobertas que ameaçam rasgar os poucos segmentos restantes que mantém a cidade unida.
A shell-shocked black soldier is cared for by a miner and his daughter when he wanders into their camp, and makes a fresh start in life with the aid of the American Legion.
Marshal Rocky Lane is sent to help the Sheriff who is under attack from both the miners whose ore wagons are disappearing and the newspaper editor for not catching the outlaws. But the editor is actually the leader of the gang and with the election forthcoming, she has a plan to make the Sheriff look bad so her son will be elected Sheriff thereby making it easy for them to continue with their robberies.
An exciting story of Husine coalminers who formed a partisan batch and put up an armed resistance during WW2 in Bosnia and Herzegovina.
Since the days of Apartheid, Main Reef Road has linked Johannesburg, its suburbs, and the outlying villages and gold mines of the region. Now the people of means flee the more remote reaches of the Road for the suburbs. Who remains along this once heavily travelled highway? Who slaves for the mining companies today? Filmmaker Nic Hofmeyr takes to the road to meet them. South Africa's history echoes in their stories, and in the very landscape.
The story of a mine and the men who work it, particularly one miner, who has problems both at work and at home.
The 23rd issue of the long running industry cinemagazine. Features the articles: 'Safety First', 'Paying For It' and ' A Star Drops In'.
Mad, bad' poet Lord Byron and a lobster thermidor feature in a melancholy tour of Seaham with Johnny Morris.
Film deals with Stakhanovite movement. Old miners try to sabotage young man's plan to renew methods of getting coal.
Dancing in Dulias was made by members of Lesbians and Gays Support the Miners (LGSM) and Lesbians Against Pit Closures during and immediate after the 1984/85 minders strike. Like the forthcoming movie, Pride, it documents the interactions between lesbians and gay men and the miners and their families in Dulais in South Wales - only this time it's the real thing. As well as some memorable footage that includes the Blaenant Lodge banner leading the 1985 Lesbian and Gay Pride march and LGSM members struggling with bingo at the local community hall, the film documents the wider political impact of this seemingly unlikely alliance. (cont. http://www.cambridgefilmfestival.org.uk/films/2014/dancing-in-dulais#sthash.HScQCj7E.dpuf)
The darkness of the mine, invaded by the miners' light, by the noisy machines and the permanent and intense smell of ore in the air, leads us to an environment in which time and space become confused. A documentary film at Panasqueiras' Mine, between 2008/09. A reality captured by an eye-observer which does not interfere, but follows the compost that grows from the earth and is decomposed by man-machine.
A group of miners (including a sole black worker) exits the colliery gates.
Thud and Blunder learn what not to do while in a coal mine.
In the year 2000, few workers spend their days on a mining site in silent desperation, planing a strike and lamenting over their lives and bleak future. A shop-girl who's husband just left her is also in the center of attention.
For many years, the Swiss photographer Jean-Claude Wicky captured the world of Bolivian miners in photographs. When he discovered how strongly they reacted to his pictures, he decided to make a film. Black-and-white photographs alternate with film sequences, in which the miners talk about the harsh conditions of their everyday lives, while also rendering visible their pride, dignity, culture and dynamic traditions. Every day is night is first and foremost a testimonial of profoundly sincere human encounters based on respect, generosity and gratitude.