In Good Hands 2 2024 - Movies (May 23rd)
The Blue Angels 2024 - Movies (May 23rd)
Reunion 2024 - Movies (May 23rd)
Rachel Feinstein Big Guy 2024 - Movies (May 22nd)
Carol Doda Topless at the Condor 2024 - Movies (May 22nd)
The Fall Guy 2024 - Movies (May 22nd)
Teddiscare 2024 - Movies (May 22nd)
Red vs. Blue Restoration 2024 - Movies (May 22nd)
Bob Marley One Love 2024 - Movies (May 21st)
Emma and Eddie A Working Couple 2024 - Movies (May 21st)
Stress Positions 2024 - Movies (May 21st)
4 Kings 2 2023 - Movies (May 21st)
Boy Kills World 2023 - Movies (May 21st)
Kingdom of the Planet of the Apes 2024 - Movies (May 21st)
Seize Them! 2024 - Movies (May 21st)
Killer Body Count 2024 - Movies (May 21st)
A Strangers Child 2024 - Movies (May 20th)
Arthur the King 2024 - Movies (May 20th)
The Wrath of Becky 2023 - Movies (May 20th)
IF 2024 - Movies (May 20th)
Family Practice Mysteries Coming Home 2024 - Movies (May 20th)
Love Undercover - (May 23rd)
Painting Birds with Jim and Nancy Moir - (May 23rd)
Abbott Elementary - (May 23rd)
Katie Pipers Breakfast Show - (May 23rd)
After Midnight - (May 23rd)
Killer Cases - (May 23rd)
The Cook Up with Adam Liaw - (May 23rd)
Pawn Stars Do America - (May 23rd)
Murder at the Motel - (May 23rd)
Tipping Point Australia - (May 23rd)
Reality of Wrestling - (May 23rd)
grown-ish - (May 23rd)
The Conners - (May 22nd)
Walker - (May 23rd)
Survivor - (May 23rd)
Royal Rules of Ohio - (May 23rd)
The GOAT - (May 23rd)
Hacks - (May 23rd)
Pretty Little Liars- Original Sin - (May 23rd)
Star Trek- Discovery - (May 23rd)
Dimitri Venkov Introduces His Film "The Hymns of Muscovy" on Mubi There are good reasons why images of buildings aren’t as impressive as real life buildings. Quite obviously the volume, the scale, the materiality are missing in pictures. Real life architecture has always provided me with a powerful emotional and tactile experience, yet in an image, no matter still or moving, it loses most of its punch—it no longer makes my head spin nor gives me butterflies in my stomach. I rarely concentrate on architecture in films. Actually, most directors don’t want me to: architecture is a backdrop for the action, an instrument to create a mood, a vehicle for the characters’ state of mind. In other words, it is ancillary to something else in the film. Rarely is it treated as a subject in its own right that can speak of itself and the contexts it exists in. Films show buildings as something static, as a stable point of reference against which other objects are moving. However, in everyday life we don’t experience architecture statically: we move past or through it, our gaze glides along its surfaces. Concentrating on the human scale, films show fragments of buildings: a man walks into a doorway, a woman appears from a side street. But in reality, as we approach buildings from a distance we first grasp their general form and then discover the details. Think of how you look up to see the top of a skyscraper and then look back down to study the windows, the entrance, and the rest. Lacking a sense of scale and volume, static and fragmented images of architecture make it look flat and often reduce it to the horizontal (human) dimension. > I thought that architecture had bigger potential in film than a mere setting for human activities. I wanted to create a cinematic experience that would match my emotional experience of real life architecture. I also wanted to give it a voice of its own, make it a proper character telling its own story without human intermediary. For the narrative I chose buildings from three distinct periods that largely define the look of today’s Moscow: the exuberant Socialist Classicism a.k.a. Stalinist Empire, the austere and brutal Soviet Modernism, and the contemporary mishmash of styles. This architecture reflects the evolution of the country’s ideology but, what’s more, it contains something intangible from each period—its spirit, its frozen music. I couldn’t think of a better way of extracting this music than to use the Soviet national anthem as a source material. Written in 1943, it evolved in sync with the above-mentioned architectural styles. It has undergone three editions of lyrics each corresponding to the historical period of a particular style, yet musically remained unchanged to now serve as the official anthem of the Russian Federation. I worked with the composer Alexander Manotskov to create an original score for the film based on the anthem. Alexander wrote three electronic variations on its theme matching each architectural style.
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.
Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.
This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”
Avant-garde composer John Cage is famous for his experimental pieces and "chance music" but temporarily branched into video in 1992 with this art film about meaningless activity. The work is composed of two segments that are supposed to be played simultaneously: "One 11" contains the artistic statement, and "103" is a 17-part orchestral piece. Also included is a revealing documentary about Cage and director Henning Lohner.
Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.
"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)
Several fragments of one day in Leningrad in the autumn of 1989, refracted in the imagination of the artist.
Profile of the late iconoclastic director Curtis Harrington, featuring images from many of his poetic and haunting films.
"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture." - Anita De Groot
In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.