마더후드 (2009)
장르 : 코미디, 드라마
상영시간 : 1시간 30분
연출 : Katherine Dieckmann
각본 : Katherine Dieckmann
시놉시스
Motherhood is a comedy written and directed by Katherine Dieckmann, and stars Uma Thurman, Anthony Edwards and Minnie Driver. Shot on location in New York’s West Village, focuses on the dilemmas of motherhood, such as marriage, work, and self, shown in the trials and tribulations of one pivotal day.
This short film is an ode to the women who settled the Prairies, from the days of early immigration to 1916 - when Manitobans became the first women in Canada to receive the provincial vote - and beyond. Recollections of women are complemented by a series of quotations drawn from letters, diaries, and newspapers of the day, which are spoken over re-enacted scenes and archival photographs.
The Great Road is a 1927 Soviet silent documentary film directed by Esfir Shub. It is the second in Esfir Shub's trilogy of films that began with The Fall of the Romanov Dynasty (1927) and concluded with Lev Tolstoy and the Russia of Nicolai II (1928).
A 3-part documentary granting a unique and privileged access into the magical world of whales and dolphins, uncovering the secrets of their intimate lives as never before. Episode 1: Giant Lives / Episode 2: Deep Thinkers / Episode 3: Voices of the Sea
Wendy is finally settling in to single life after the death of her husband. She runs a successful wedding planning company with the help of her friend Roseanne. Wendy's business and values are challenged when Marco, a charming but irritating divorce attorney, opens shop right next door!
Taryn finds herself gaining much-desired popularity when the charismatic new girl at school claims her as a “breath sister," teaching Taryn about the Choking Game. Hiding it from her ever-present mother, best friend, and teachers, Taryn sees choking as a way to build self-control and grab an easy high. But, as the stakes are raised through each subsequent ‘flight’, Taryn has no idea that she is actually putting her life in extreme danger.
철거를 앞둔 경기 북부의 미군 기지촌에는 몸에 각인된 상처를 안고 살아가는 세 명의 여인이 있다. 30여 년간 선유리에서 햄버거를 만들어 온 ‘바비엄마’, 의정부 뺏벌의 쇠락한 좁은 골목길에서 폐휴지를 줍고 그 위에 그림을 그리는 박인순, 그리고 흑인계 혼혈인 안성자의 분절된 기억을 따라, 영화는 망각된 기지촌의 공간 속에서 ‘의무의 여행’을 시작한다.
Activist-pranksters Andy Bichlbaum and Mike Bonnano pull the rug out from under mega-corporations, government officials and a complacent media in a series of outrageous stunts designed to draw awareness to the issue of climate change.
A heavily neurotic young man starts to see his father's ghost, and while he helps the spirit cross to the otherworld, something happens that they could never achieve in their common life: they finally understand each other.
Marianne Riblon runs a small construction business in the south of France. Widowed and estranged from a daughter she hasn't seen in 15 years, she spends her time and working and has a life devoid of affection. An active member of the town council, she has strong conservative and racist convictions. One day, her daughter Charlotte calls her to tell her she's a grandmother. Her grandson, Nicolas, is 12 and is on his way to come see her. Charlotte wants her to take care of the child while she's being treated for leukemia. A the station, Marianne discovers the boy is half-black. The two learn to know each other...
1969년 영국의 명문여학교. 반항심 가득한 리디아와 성숙한 여고생 아비는 가장 은밀한 경험까지 공유하는 단짝. 하지만 언젠가부터 아비에게 말 못할 비밀이 생기고, 그런 아비가 못마땅한 리디아. 둘의 우정이 흔들린 순간, 아비는 리디아의 곁을 떠나게 된다. 슬픔에 잠긴 리디아와 친구들. 그 무렵, 소녀들에게 시작된 미스터리한 증상은 전염병처럼 학교 전체로 번지며 점점 더 심각한 지경에 이르는데……
Lee Anne Schmitt explores California's landscape and past to document the history of one-time boom towns built and abandoned by the industries that necessitated their creation. Sold as a limitless land expansive with free opportunity, California was actually, from its onset, fissured by the interwoven needs of private and public interests. Schmitt's film covers various locations through time, as the major industries of the early 20th century (mining, lumber, oil) give way to the military, eventually leading to multinational corporations, and the use of small towns as satellites for growing urban metropolises.
When seminal documentarian Ed Pincus is diagnosed with a terminal illness, he and collaborator Lucia Small team up to make one last film, much to the chagrin of Jane, Ed’s wife of 50 years. Told from two points of view with vulnerability, intimacy and humor, ONE CUT, ONE LIFE challenges the form of first person documentary while offering a complex story of love, loss, legacy, and the delicacy of capturing the preciousness of life while time is fleeting.
Across a language barrier, a Turkish groom-to-be on an engagement party in Kyev meets a Ukrainian that represents the 'other woman' for a marriage there.
A young boy grapples with first love and his ambitions as a drummer during an eventful summer holiday.
A lyrical and haunting portrait of reindeer herding in the twilight expanses of the Lappish wilderness.
Two novels united by common characters and a never-settled problem: the clash between sincerity of children and the heartless pragmatism and ambitions of grown-ups.
Frivolous girl falls in love with a young construction worker. He trusts her and decides to include her in his team of workers. In the beginning, she is happy, but soon starts to feel the tensions between the people in the team. Hypocrisy and demagogy fill her with indignation and she does not keep silent about the shortcomings and mistakes of her colleagues. Gradually, her superiors become uneasy about her and the girl has to go. Her boyfriend offers her marriage, but she decides to take her own path and lead a worthy life. The movie was shot in 1966 but was censored by the communist government and released in theatres on 31st October 1988.
Jeton, a 10-year-old boy is sitting on the edge of a balcony on the 4th floor. Neighbours and passers-by, terrified by this situation, call the police and firefighters for help. But the situation quickly becomes unmanageable.
Is it fun to be panda? May be... But not for Misha whose job is to work as a panda during birthday parties.
Loie Fuller, in her 1920 feature-length film Le Lys de la vie, […] explored the new technique for poetic ends, creating fleeting, dreamlike images that "freed" the medium from "illusionism" and imbued it with fantasy. A 17 minutes fragment is held at the Cinémathèque française.
