Dead Birds (1963)

극락조를 관찰, 연구하고 극락조 수컷이 왜 화려한지에 대해 알아보는 내용의 다큐멘터리

After squandering his grant money, despondent and recently widowed anthropologist James Krippendorf must produce hard evidence of the existence of a heretofore undiscovered New Guinea tribe. Grass skirts, makeup, and staged rituals transform his three troubled children into the Shelmikedmu, a primitive culture whose habits enthrall scholars. But when a spiteful rival threatens to blow the whistle on Krippendorf's ruse, he gets into the act as well.

지구 상에서 가장 깊고 거대한 해저동굴 ‘에사 알라’ 동굴 탐험가 ‘프랭크’는 자신의 탐험대와 함께 인간의 손길이 닿지 않은 남태평양의 깊고 거대한 해저동굴 ‘에사 알라’를 탐험 중이다. 어린 시절부터 탐험에 동행한 아들 ‘조쉬’는 수개월 째 계속되는 강행군에 지친 대원들에게도 냉정한 아버지를 이해하지 못해 잦은 충돌을 빚는다. 한편 탐험 비용을 지원하는 투자자 ‘칼’과 그의 약혼녀 ‘빅토리아’는 미지의 세계에 대한 단순한 호기심에 ‘에사 알라’로 들어간다. 열대 폭풍에 휩쓸려 수중미로에 갇힌 탐험대 생존의 탈출구를 찾아 나선 그들이 만나는 것은… 이 때, 갑자기 들어 닥친 열대 폭풍으로 지상과 연결된 유일한 출구가 순식간에 차단된다. 이제 그들이 선택할 수 있는 건 동굴의 더 깊숙한 곳으로 들어가 다른 출구를 찾는 방법뿐. 여러 번의 조난 상황을 경험했던 ‘프랭크’는 불안에 떠는 사람들을 이끌고 끝없이 펼쳐지는 수중미로를 향해 생존을 위한 모험을 시작한다. 점점 거칠어지는 물살과 싸우면서 탈출구를 찾아보지만 한치 앞을 예측할 수 없는 기이한 동굴의 구조 때문에 점점 더 깊은 바다 속으로 들어간다. 얼마 남지 않은 식량과 비어가는 산소통, 꺼져가는 불빛… 그리고 하나 둘 줄어드는 일행들. 생사의 갈림길에 선 이들은 극단적인 상황 앞에서 미지의 세계만큼이나 충격적인 모습을 마주하게 되는데… 상상 그 이상, 탐험의 끝을 확인하라!

12세 소녀 라일라는 온몸을 뒤덮기 시작한 털 때문에 정상적인 생활을 할 수 없다. 숲속으로 들어가 자유로운 야생의 삶을 살기도 하지만 독수공방의 고통까지 감내하기엔 역부족. 결국 밤에는 사랑을 나누고 아침이면 면도를 하는 편법으로 정상적인 남자와 짝짓기에 성공한다. 그러나 하필이면 털난 짐승을 경멸하고 학대하는 과학자일 줄이야. 우연히 면도하는 라일라의 모습을 목격한 남자, 마침 산 속에서 마주친 또다른 미개인 남자. 이제 사건은 복잡하게 꼬여만 가는데..

A girl and her brother fly to New Guinea to look for a lost expedition, led by her husband, which has vanished in the great jungle.

Living in the depths of the New Guinea rainforest are the spectacular birds of paradise - creatures so beautiful that the first Europeans believed they must have fallen from heaven. Filming their bizarre courtship displays is the Holy Grail of wildlife film makers: some perform like iridescent acrobats, others make hypnotic pulsing sounds as they quiver and vibrate.

코브라 독침으로 세 남자를 살해한 용의자의 유품에서 실종된 언니 다이아나의 사진이 발견되었다는 소식을 전해 들은 실라는 언니를 찾아나서기로 결심한다. 언니의 행적을 수소문하던 그녀는 다이아나가 존스라는 교주에게 빠졌다는 사실을 알고 뉴기니아 정글에 있는 존스 사원으로 마크와 함께 떠난다. 정글 깊숙이 자리잡고 있는 뉴기니아의 한 원주민 마을에서 그들을 맞는 것은 강간과 윤간, 인육을 먹는 식인종, 교주를 거역한 자에 대한 끔찍한 보복, 교주에게 바쳐지는 소녀의 제물 등 충격적인 현장들 뿐이다. 다이아나를 탈출시키기 위해 거짓으로 교주를 따르는 척하며 기회를 엿보던 실라와 마크는 존스와 그를 추종하는 원주민들의 행태와 끔찍한 의식에 경악하는데...

As a war rages on in the province of Bougainville in Papua New Guinea, a young girl becomes transfixed by the Charles Dickens novel Great Expectations, which is being read at school by the only white man in the village. In 1991, a war over a copper mine in the South Pacific tore the island of Bougainville apart. The reclusive “Popeye” (Hugh Laurie) offers the children in fourteen-year-old Matilda’s tiny village an escape with Charles Dickens' Great Expectations. But on an island at war, fiction can have dangerous consequences.

태평양 전쟁 당시 '코코다 트랙 전투(Kokoda Track campaign, 1942년 7월 21일 ~ 11월 16일)'을 배경으로 일본군 보급로를 교란시키기 위한 호주군 (39th Battalion) 정찰대의 여정과 활약상을 그린 전쟁영화.

배짱과 매력이 넘치는 ‘에롤 플린’은 파푸아뉴기니에서 영화 제작자들의 호위를 맡아 정글숲을 탐험하던 중, 우연히 무자비하게 살해당한 황금 탐사자의 시신을 발견한다. 이를 보고 그곳 어딘가에 황금이 있음을 직감한 ‘플린’. 황금을 쟁취하기로 마음먹은 그는 식인종과 악어라는 위협도 불사하고 친구들과 함께 황금을 찾아 나서는데…

Living in the depths of the New Guinean Rainforest are birds of unimaginable color and beauty. When Europeans first saw the plumes of these fabulous creatures in the sixteenth century they believed they must be from heaven and called them Birds of Paradise. The people of New Guinea make even greater claims. They say the birds possess supernatural powers and magic. But to find these birds in New Guinea is one of the toughest assignments and to witness their extraordinary mating displays is even tougher. David Attenborough introduces a young team of New Guinean scientists on a grueling expedition to find and film these Birds of Paradise; the holy grail of wildlife filmmakers.

National Geographic joins author and explorer Piers Gibbon as he investigates one of mankind's ultimate taboos: cannibalism. Gibbon treks into the rain forest of Papua New Guinea to find tribe members who ate human flesh. And, meets the members of the once-feared Biami tribe to witness their ritual techniques.

This is a film about a Naval Air Corps Director who hates the war. Director Honda uses this film to ask the question "What is war?", showing the human bonds between Japan and America, Japanese military tactics which had little regard for life, and the attitude of Japanese military personnel who treated their actions as if they were just doing a job. This film contains few battle scenes, concentrating instead on the love stories of young officers and female members of the community in this lonely air base.

Aliko & Ambai is a feature film about two young women facing the challenges of growing up in the beautiful Eastern Highlands of Papua New Guinea. The challenges are significant: tribal conflict, poverty, bullying, domestic violence,and forced marriage. Aliko struggles to complete her education and Ambai searches to escape her abusive home and reunite with her biological father. They navigate the many obstacles in their lives and endeavour to build brighter futures for themselves, supported by the strength of friendship.

Joe Leahy is the half-caste son of one of the first explorers of the Papua New Guinean interior. The documentary explores his relationship with the tribes that work his coffee plantation and explores what happens when the coffee market situation becomes more difficult.

Pinky Scariano, Allan Ross, and Frankie Davis all join the Army Air Forces with hopes of becoming pilots. In training, they meet and become pals with Bobby Grills and Irving Miller, and the five struggle through the rigid training and grueling tests involved in becoming pilots. Not all of them succeed, and tragedy awaits for some.

In his now well-known role of narrator of wildlife expeditions, Attenborough accompanies a government-sponsored trek into the central New Guinea highlands to make contact with a group of natives never before seen by Europeans.

A man encounters colorful characters while driving a taxi in Papua New Guinea.

Hans has killed the dog of Firmin, a shepherd. Wild with rage, Firmin kidnaps Elsi, Hans' fiancée and locks her up at his home. Hans, a peddler, vows to find the missing girl. This is what he does and he manages, with the help of Mânu, the village idiot, to give Elsi a letter. On seeing her, the changeling falls in love at first sight with the young woman. Elsi soon realizes that Mânu can become her instrument of vengeance.

A soundless film starts in a studio: an artist sits, a nude stands; a page burns, paper cutouts appear, images are distorted. The artist removes his eye; it falls from his hand, seeing images spin as it rolls. A man falls, objects in the studio falls on him, he's not the artist. A woman gets help from a man in a lab coat; he and the man on the floor fight over a shotgun. Outside, in the city, people and cars move backwards. On the street, those from the studio chase a woman who's stolen leeks. In the backward cityscape, they move forward. They run toward a seaside amusement park. The artist follows, his head in a bird cage. He ends up with the woman who went for help; or does he?

A farmer accidentally creates a self-procreating iron Pegasus.

The history and art of ikebana, a centuries old Japanese art of flower arrangement and a look inside the Sogetsu School of Ikebana, where the director's father Sofu Teshigahara worked as the grand master of the school.

In Russian, "Svyato" means "happy". But it is also a nickname for Svyatoslav, the son of director Kossakovsky, who for two years covered mirrors from Svyato. For the first time in his life, Svyato is going to watch himself on a mirror.

A lonely guy, living an uneventful life in Paris, takes care of his mother. One day, a girl with a more exciting life moves in his apartment building.

"The strangeness of this film is laced with carefully moulded apocalypses as the filmmaker explores a vision of life beyond death – the Elysian fields of Homer, Dante’s Purgatorio, de Chirico’s stitched plain. A moving single picture. Evolving the structure or script for the film involved a process of controlled hallucination, whereby I sat quietly without moving, looking at the background until the pieces began to move without my inventing things for them to do. I found that, given the chance, they really did have important business to attend to, and my job was to furnish them with the power of motion. I never deviated from this plan." —Canyon Cinema

This is October 1955. The place is a village in Loire-Atlantique, La Chapelle-Basse-Mer, where an old clog-maker works and lives with his wife and their adopted son. The clog-maker's meticulous craft is described with love and close attention to detail. On the other hand, forthcoming death pervades the quiet everyday life of the elderly couple.

The updated autobiography of Britain’s most controversial film director, the maker of Women in Love, The Devils, The Music Lovers, Tommy and The Rainbow, is as unconventional and brilliant as his best films. Moving with astonishing assurance through time and space, Russell recreates his life in a series of interconnected episodes – his thirties childhood in Southampton, his first sexual experience (watching Disney’s Pinocchio), his schooldays at the Nautical College, Pangbourne, early careers in the Merchant Marine and the Royal Air Force, dancing days at the Shepherds Bush Ballet Club and of course his career as a film-maker, beginning with an extraordinary interview with Huw Weldon for a job on Monitor. Full of marvellously funny anecdotes and fascinating insights into the realities of the film director's life, A British Picture is a remarkable autobiography.

Alfredo is a cheerful party animal, son of a wealthy man. Alfredo's brother, a young very focused and mature boy, and their father try unsuccessfully to change the profligate lifestyle of Alfredo to remedy the dissolute life of the latter, which, by all indications, is clearly gay.

Two kinds of starfish, the brittle and the feather. The brittle star moves its arms alone, without the aid of suckers. Underneath is a single opening. Stalks move food close to the mouth and move waste away. We see vents, used in reproduction and breathing. We watch the hatched young expelled into the water. The camera shows us brittle stars' intricate patters. We observe feather stars in clusters, like ferns. One turns over slowly; arms have branches with stalks for breathing and gathering microscopic food. Reproductive organs are inside branches. We see eggs develop at 1,400 nature's speed. Larvae emerge, 0.1 mm long. They grow. A feather star takes a walk.

Bosko runs a movie theater that shows a wacky newsreel with Jack Dumpsey, a slapstick short from Haurel and Lardy, and a turn-of-the-century melodrama starring Honey.

Grierson set out to make "propaganda," and this film--with it's voice-over proclaiming the great value of the British industrial worker, without a hint of ambiguity or doubt--fits that category well. The authoritatarian narrator feels out-of-date and unsophisticated, but the footage is well shot and interesting, and the transparency of the propaganda aspect is almost a reflief at a time when so many films have hidden agendas.

A man plays fetch with his dog, only to have both him and his dog mired in a series of optical illusions.

Award-Winning filmmaker Paul Leduc (Frida, Naturaleza Viva, Reed: Insurgent Mexico, Barroco) directed this gritty musical drama about life in the ghettos of Mexico City during the 1980s. With a soundtrack of Mexican rock music, the camera takes the viewer through the streets, to rock concerts, and to the bars and clubs, where he exposes the hunger, repression, unhealthy conditions and violence in the marginal communities of Mexico's capital city.

In 1996, Marcello Mastroianni talks about life as an actor. It's an anecdotal and philosophical memoir, moving from topic to topic, fully conscious of a man "of a certain age" looking back. He tells stories about Fellini and De Sica's direction, of using irony in performances, of constantly working (an actor tries to find himself in characters). He's diffident about prizes, celebrates Rome and Paris, salutes Naples and its people. He answers the question, why make bad films; recalls his father and grandfather, carpenters, his mother, deaf in her old age, and his brother, a film editor; he's modest about his looks. In repose, time's swift passage holds Mastroianni inward gaze.

작은 마을에서 할머니와 단둘이 살던 오노 유코는 갑작스러운 할머니의 죽음과 함께 자신이 아버지와 비서 사이에서 태어난 사생아이며, 생모는 2차 대전 이후에 연락이 끊겨 할머니가 맡아 기르게 되었음을 알게 된다. 도쿄에서 부유하게 살고 있는 계모의 집에서 살게 된 그녀는 계모와 이복형제들의 멸시를 받으며 하녀처럼 생활하지만 언제나 밝은 면만을 보며 자신의 삶을 긍정적으로 받아들이는 '명랑소녀'이다.

An employee of a photo archive describes some of the most unusual requests for photographs he has had to deal with (such as a photograph of Jesus), as the impossible images are brought to life through animation.

Although members of the Hitler Youth chant anti-Semitic paroles in front of his house during the Purim festival, Rabbi Singer is still profoundly convinced that Germany will stay a safe country for him, his family, and his fellow believers. But several years later, his son David is banned from going to school because he is a Jew. Shortly after, Rabbi Singer and his wife are deported. Now, young David also fears for his life. In constant fear of being detected, he tries to find a way to leave Germany.

Portrayal of a talented, influencial and troubled artist: a filmmaker who fought his own demons and seemed to live his own legend like no other director. Against all odds Sam Peckinpah was able to create a very personal body of work in the studio system of Hollywood and with his powerful directing and editing style changed the way of filmmaking forever. Legendary for his use of slow-motion violence, various scandals and his ongoing problems with sudios and producers, the story of Peckinpah is filled with tragedy, humor, success and defeat.