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A portrait of the folk music, culture and lifestyle of the people of Qeros, high in the Peruvian mountains.
The Voyager probe is about to leave our solar system. At the same time, on Earth, Alain Diaw begins his first day of work in a prestigious automobile company. He has come a long way and is also aiming for the unknown.
Part of the series made for VPRO TV comprising films from the silent era. This part is a compilation of short films restored by the Netherlands Film Museum from the period 1897 to 1899. They were made by the Biograph & Mutoscope Company in Holland and abroad. The films were shot on the 68mm format that soon went out of fashion.
An awkward fast-food worker gains a new perspective on life while competing for customers against an excessively happy-go-lucky rival.
A quiet, quarantine special made from relaxing old footage and narrated by comedian Joe Pera, featuring trees, waterfalls, and Japanese monkeys.
The documentary illustrates the history of the birth and development of the porticoes module in Bologna, starting from the Middle Ages. After a brief historical investigation on the origin of the arcades and on the revolution that affected urban architecture following their introduction, we analyze the social impact that these had, and still have, on the lives of Bolognese citizens. The porch, among other things, is presented as an architectural solution capable of facilitating meeting and communication.
Italian short comedy from the Itala Film company.
Quest of the Muscle Nerd is a quirky and heartwarming documentary about one man's dream to host the first ever Bodybuilding/Cosplay competition and the two men who drag their bodies through hell to claim the crown.
Mister Rossi wins an Oscar.
Giant river otters of the Peruvian Andes, which grow up to 18 feet long, are highly social, living and feeding together as families all their lives.
The trace is similar to the index, but there is a more complex relationship to the original referent because the trace is at once a repetition and an erasure. In his 1974 film The Portrait of Père Tanguy, Goldstein traced a reproduction of the famous Vincent van Gogh painting of the same name. While on the one hand Goldstein's presence is affirmed by the mark which he makes on the paper, on the other, his sense of selfhood or individual identity is called into question by the fact that he is merely tracing an image produced by another individual, an image originally intended to assert van Gogh's individuality and sense of selfhood. The repetition is compounded by the fact that the tracing is, in fact, a tracing of a reproduction so that we are faced with a seemingly endless trail of doubling and disappearance.