At the Drive-In

An updated version of John Mulholland’s making-of documentary that explores the remarkable 1952 film starring Gary Cooper, and the gripping story behind its troubled production. Though High Noon was originally seen as an attack on the blacklisting witch hunt gripping Hollywood at the time, it is now recognized as a damning portrait of civic complacency, democracy in peril. High Noon is today considered a classic of American cinema.

Joel Barish, heartbroken that his girlfriend underwent a procedure to erase him from her memory, decides to do the same. However, as he watches his memories of her fade away, he realises that he still loves her, and may be too late to correct his mistake.

When an armed, masked gang enter a Manhattan bank, lock the doors and take hostages, the detective assigned to effect their release enters negotiations preoccupied with corruption charges he is facing.

Nora is 15 years old. Her parents died when she was young and now she lives with Anders and Karin and their son Dag. They move into an old apartment in an old house in Enköping. Behind a wall they find some old items from people who lived there a long time ago. They also discover that their apartment is haunted by a ghost. Together with Dag, Nora tries to find out more about the people who lived there.

The year 2015 will be chronicled as magical, mythical and memorable. The People of Tomorrow experienced Tomorrowland on three continents this year. After celebrating the 10th anniversary in Belgium in 2014 and putting ashore in the United States, the third chapter of our magnificent fairytale was written in Brazil for the very first time.

A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre. The film had an incredible impact on the development of cinema and is a masterful example of montage editing.

A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his family and disappeared four years earlier.

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.

Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with the show. In retreat from their dependency, he fantasizes about past women and dreams of his childhood.

William Thacker is a London bookstore owner whose humdrum existence is thrown into romantic turmoil when famous American actress Anna Scott appears in his shop. A chance encounter over spilled orange juice leads to a kiss that blossoms into a full-blown affair. As the average bloke and glamorous movie star draw closer and closer together, they struggle to reconcile their radically different lifestyles in the name of love.

One of the earliest exploitation films from South Africa, directed and produced by independent film maker Pierre D. Botha. This is a classic example of a ‘restless youth’ film. The action takes place in Johannesburg (The Godless city of the title) and focuses on the youth sub culture of the ‘Ducktails’ (“a white youth gang subculture which emerged within post Second World War South Africa. Rebellious, hedonistic, apolitical and showing little respect for the law, education or work”).