My Pet Ate What - (Feb 10th)
The Last American Vagabond - (Feb 10th)
Piers Morgan Uncensored - (Feb 10th)
Katy Tur Reports - (Feb 10th)
Chris Jansing Reports - (Feb 10th)
Panorama - (Feb 10th)
Robson Greens Weekend Escapes - (Feb 10th)
Escape to the Country - (Feb 10th)
The Tucker Carlson Show - (Feb 10th)
Australian Crime Stories- The Investigators - (Feb 10th)
Australian Idol - (Feb 10th)
Bargain Hunt - (Feb 10th)
The Great American Baking Show - (Feb 10th)
Perfect Match - (Feb 10th)
Saint-Pierre - (Feb 10th)
Murdoch Mysteries - (Feb 10th)
Family Feud Canada - (Feb 10th)
The Kelly Clarkson Show - (Feb 10th)
Open House NYC - (Feb 10th)
Common Side Effects - (Feb 10th)
Collection of short films by various directors based on dreams, 42 seconds each. It was produced by the world's most awarded vodka "42 Below", known for doing things differently , with other Chinese User Generated Films.
Cold War Leningrad: In a culture where the recording industry was ruthlessly controlled by the state, music lovers discovered an extraordinary alternative means of reproduction: they repurposed used x-ray film as the base for records of forbidden songs. Giving blood every week to earn enough money to buy a recording lathe, one bootlegger Rudy Fuchs cuts banned music onto such discarded x-rays to be sold on street corners by shady dealers. It was ultimate act of punk resistance, a two-fingered salute to the repressive regime that gave a generation of young Soviets access to forbidden Western and Russian music, an act for which Rudy and his fellow bootleggers would pay a heavy price.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
An experimental docu-fiction short from hours of collected material shot by the director. Different scenes, from drunk parties with friends to shots of the Dutch landscape during a train ride, are cut together to see if a narrative story can be constructed from nothing but randomly shot footage.
Stole Popov's Oscar-nominated Dae depicts a group of Roma celebrating St. George's Day. The documentary doesn't contain dialogue, just footage of the festivity.
Martin Short narrates the story of "his own" birth to explain the subjects of sex, conception, pregnancy and childbirth in an entertaining and educational way.
25 BIS is an intimate portrait of a masterpiece from the beginning of Auguste Perret’s career: the building located on 25 Bis, Rue Franklin in Paris. The film looks for the intangible and subjective element of the building’s history: the depth of its human print. The building appears as a sedimentation of life stories where each layer has left the trace of a passage. From the intimate nature of these stories, the film draws this fragile and undefined essence that could be called “the soul of the place”.
A portrait of the renowned Finnish architect and designer Alvar Aalto by the radical experimental filmmaker Eino Ruutsalo. Shot in the summer of 1972 at Aalto’s experimental house in Muuratsalo the film briefly and accurately covers the growth, development and creativity of the master architect, presenting his most important work.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.