One of the adventures of João de Deus.

The opera-film, as opposed to Gluck's Vienna version, is a recollection of the ancient tragic Greek myth. Orpheus, who is able to defeat Hades with the power of art, is unable to conquer his own human defects. Amor is sympathetic to Orpheus' sufferings as he mourns his dead beloved, and lets him know the message sent by the Gods, namely that he may take her home from the underworld if he is capable of not looking at her.

A “Puppetoon” style retelling of the tragic tale of Orpheus and his lost love. It features a very vivid rendering of the Underworld, with Hades and Persephone represented as strange iconic totems.

The myth of Orpheus and Eurydice tells of the impossible return to the land of the living by a woman who has been mortally wounded. The poet-musician Orpheus’s eventful journey in the world of shadows, searching for the one he loves and cannot let go, takes him to the Elysian Fields. This is an unexpected place of peaceful, composed of countryside and those in its thrall. It is here that Eurydice is now installed. During his journey Orpheus is thus introduced to a surprising reality: an enclave, a protected place, both near and yet inaccessible, disturbing, between life and death.

In December 1968 I participated in the film Orpheus Shot on the Battlefield, which originated as a collective work, a movie without an author, but which would ultimately be attributed to Antonio Maenza in the end even though he only played the role of the director in the film. The film, which was never provided a soundtrack, was screened on several occasions with a soundtrack performed live consisting of a text for three voices and a number of musical pieces, among which were the “descent into hell” from the opera L’Orfeo by Monteverdi in the version by Edward H. Tarr, released in 1968 by Erato, “New York 1963 – America 1968” from Every One of Us by Eric Burdon and the Animals; and “The Return of the Son of the Monster Magnet” from Freak Out by [Frank Zappa and] The Mothers of Invention. After the “state of emergency” in January 1969, an epilogue was shot but it was never developed.

Orpheus' song tames scales and dolphins, dictates laws to the wind and sets the rhythm of the oars that move the sea. Those who listen to it remain motionless in contemplation. Between bodies, the Patagonian landscape and the crossing of boundaries with the private record of a vacation, Narcisa Hirsch and Rafael Maino unfold among the melodies of a passage from Orphee et Eurydice. This film also bears the name "Rafael, 1976" and can be considered part of the series of the diaries with "Rafael, agosto 1984".

Dance from the opera from 1762 by Christoph Willibad Gluck (1714-1787), choreography by Hans Beck 1896. Performed by Valborg Borchsenius (née Guldbrandsen), Ellen Price, Elisabeth Beck (1865-1946) and Anna Marie Agerholm (1875-1929).

The film takes up the myth of Orpheus descending into hell to find Eurydice .

A short film to accompany the reissue of Nick Cave & The Bad Seeds album Abattoir Blues/The Lyre of Orpheus (originally released in 2004). The result is a determinedly human portrait of the unique body of work produced by the band over the last 25 years, told through those who have lived and loved the music, including close collaborators.

A study of Tennessee Williams's life and work as a whole, ranging from his youth in Mississippi and in St. Louis to success and acclaim, followed by the final difficult years. Includes some of the most celebrated scenes from film adaptations of Williams' work, among them extracts of A Streetcar Named Desire (1951),Cat on a Hot Tin Roof (1958), Night of the Iguana, The (1964), and Suddenly, Last Summer (1993) (TV). Contains footage of Williams being interviewed, including conversations with David Frost, 'Edward R. Murrow (I)', and Melvyn Bragg, as well as reminiscences from people who knew and worked with him, among them Edward Albee, Gore Vidal, and his lifelong friend, Lady Maria St. Just. Features readings from Elia Kazan's Notebook by Kim Hunter.

Val Xavier is a drifter in 1940's Mississippi who brings new life to an Italian immigrant woman trapped in a loveless marriage.

According to the ancient tale, talented musician Orpheus descends to the underworld to retrieve his beloved wife Eurydice, who steps on a poisonous snake and dies after being chased by Aristaeus. Moved by Orpheus’ music, Hades, ruler of the afterlife, allows him to take Eurydice back under one condition. Eurydice is to follow Orpheus while walking out to the light, but he can’t look back otherwise she will return to the land of the dead forever.

Jimmy Orpheus is about a young day labourer at the docks. After a crawl through the late-night bars in the St. Pauli red-light district, he meets a prostitute, for whom he risks life and limb while walking around night-time Hamburg … A love story that is as poetic as it is realistic, with Roland Klick trying out various extravagant editing and camera techniques, such as jump cuts and time-lapse shots, as well as his idea of action movies.

Orpheus (the artist) searches for Eurydice (immortality) in New York (his own underworld). Densely textured, pervaded by feeling of baroque imagery.

The film tells of the life and work of Sergey Paradzhanov. On December 15, 1973, the Master was to leave for Yerevan to start work on a film based on Andersen’s fairy tales. It is not known why he had changed his decision, and left on that very day for Kiev where, two days later, on December 17, he was arrested. The film recounts the years the director spent in prison. The author tries to penetrate the mysteries of the Master’s spiritual world, naming the sources, from which he drew the strength to endure the adversities of not only camp life, but of the life in general that had endowed him with huge talent and made him pay for it in full measure.

(Orpheus) The Poetics of Finitude deconstructs the myth of Orpheus using live action, animation, and text to create a visual poem.

Short film by Manfred Jelinski

Short about the titular choir, made after the announcement of the retirement of the choir's conductor, Sir Hugh Roberton

Inspired by an artist's drawings in the South, I saw paintings that depicted the indigenous people's view of the origins of the world. The film is the tale of our nation and basic things: water, plants, body, and their own interaction through time.