Isle of Wight: Gegengesellschaft Oder Festival-Ramsch?

SHANKLIN TO RYDE PIER HEAD (electric) SMALLBROOK JUNCTION TO WOOTTON (steam) Filmed in 2010

Pre-Wasteland? The outside is a privilege we overlook. Instead of letting it rot should we celebrate it instead? Enjoy a short film filled with footage of nature from The Forest of Dean and The Isle of Wight.

"Cut Adrift" marks Anastasia Wlaschin-Wiest's directorial debut, delving into the educational challenges on England's Isle of Wight. Raised on the island, Anastasia witnessed the shortcomings of its education system, exacerbated by restructuring in 2011. Despite its proximity to the mainland, the island remains isolated, impacting young perspectives. With below-average results, school closures, and underfunding prevalent, Anastasia's documentary aims to spark discussion and drive positive change. Returning as a recent graduate, she interviews locals to understand the issues and propose solutions. "Cut Adrift" is a poignant call to action, urging for improved educational opportunities and broader horizons for the island's youth.

Haunted by memories of a patient's death, a nurse takes a job at an antiquated hospital for children. Soon she learns that the kids fear a ghost that prowls the floors and will not allow anyone to leave. Amy tries to protect them and convince the other staffers of the evil that lurks there.

During a long, hot summer in seventies London, young neighbors Holly and Marina make a childhood pact to be friends forever. For Marina, troubled, fiercely independent, determined to try everything, Holly stays the only constant in a life of divorcing parents, experimental drugs and fashionable self-destruction. But for Holly, a friendship that has never been equal gradually starts to feel like a trap.

Live at ZOZO Marine Stadium, Chiba, Japan 18 August, 2018

These days it seems that nothing is as polarizing and controversial as religious belief. Everywhere one goes it seems that people are asking the question: Do we even need religion? Is it limiting our understanding? What kind of world is being produced by these faith systems? Regardless of your answers to these questions, it is hard to deny that worship still plays an important role in many people's lives and many people simply do not understand where others are coming from. Believers is a unique exploration of those questions related to faith by focusing the lens on five of the world's belief systems, Agnosticism, and the new Atheism. The film follows Sacha Sewhdat's personal journey towards understanding as he searches for the value of religion in modern society. With honesty and objectivity Sacha explores what it means to believe in a higher power or what it would mean to let those beliefs go. It will both inform and challenge what you know about religion in the 21st Century.

Four years after Pour la suite du monde (1963), director Pierre Perrault asks Alexis Tremblay if he'll agree to travel with his wife Marie to the country of their ancestors, France. In a montage parallel, we follow them in France and listen to them talking to their friends about it.

The "stone in the mouth" is the scar that the mafia makes on betrayal's corpse. The modern mafia has the historical and sociological roots into the birth of the american capitalism at the time of Roosevelt. The American "Cosa Nostra" applies the similar methods as the sicilian mafia: same apparatus, same "omertà", same power and same terror. Giuseppe Ferrara, journalist and writer, uses fragments footage, film clips, and current news to make this film.

Documentary that explores the life and career of leading man Cary Grant through film clips and interviews. Produced as S18E03 of the long running series American Masters.

Karel Vachek’s graduate film offers us a documentary essay which is both a light-hearted and aggressive little piece and also a parody of investigative film journalism. The Strážnice folk festival, backed by the cultural Party apparatus of the time, for years had little to commend itself to authentic folklore. In the film the event assumes the form of a bizarre stage spectacle with almost surrealistic elements that Vachek reinforces with unconventional approaches (commentary appearing as titles on screen, singing, declamations into the camera, feature etudes, the fusion of news coverage and fiction). The result is a stirring film collage depicting various characters, from crowd-pleasers, Easter egg decorators, kitsch artists and peddlers, to museologists and local residents, all of whom come up against the eccentric "identical” twin reporters Karel and Jan Saudek and a bored actress who appears as an extra. Using their special blend of irony and wit, they present us with the sad truth.