Robert Kramer

This last testimony of Robert Kramer (1939-1999) is a moving documentary with the independent American film director, in which he speaks of his political activism, his way of filmmaking, his relationship with Portugal and the revolutionary movements.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.

Lucien Lourmel, in his fifties, lonely and tired, runs the nightclub "P'tit Bleu", where young talent performs. He is a member of a mafia-like organization that he runs with two friends

The Portuguese Revolution (1974-75) seen through the eyes of some of the most important photographers and filmmakers that witnessed the event. Their dreams and expectations and what came out of the revolution. With outstanding historical footage.

The final film from expatriate American filmmaker Robert Kramer, who died in France in 1999. Kramer and collaborators tell the somber life story of Ben. After leaving his homeland as a youth, he is greeted in France by menial jobs in industry. In time, he opens a fruit market, finds a wife, fathers a child, and has it all come crashing down when he learns his mother is in danger back home. Upon his return to France, he finds his life in ruin.

The lives of three people faced with an uncertain future. Marguerite, 17, is uncomfortable with her family enviroment and turns to God. Claire, who desperately wants a child, encounters again a former lover. Eva asks the unemployed Jacques, who has been left by his wife and his daughter, to find a missing friend.

Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

아내와 이혼 후 삶의 의욕을 잃고 방황하던 40대 철학교수 마르땅. 견딜 수 없는 외로움과 절망으로 거리를 헤매이던 그는, 어느날 밤 술집에서 낭패를 당하게 된 노신사의 술값을 대신 내주고 답례로 그림 하나를 받는다. 며칠 뒤, 마르땅은 그림에 적힌 주소를 보고 그의 집을 찾아가지만 관리인으로부터 그가 바로 전날 죽었다는 소식을 전해 듣는다. 알 수 없는 힘에 이끌리듯 집 안에까지 발을 들여놓는 마르땅은 실내를 가득 채운 수많은 누드화와 한 여자를 만나는데... 그녀는 17살의 누드모델, 세실리아! 마르땅은 그녀가 노신사가 그린 누드화의 모델이자 그의 연인이었음을, 그리고 화가가 숨을 거두던 순간 그녀와 정사 중이었다는 사실을 알게 된다. 한 남자를 죽음으로 몰고 간 여자의 정체가 궁금해진 마르땅은 그녀와 관계를 맺기 시작한다. 만남의 시작은 단순한 호기심에서 비롯되었지만 세실리아에게 걷잡을 수 없이 빠져드는 마르땅. 그는 열정적인 사랑 따위는 어리석은 것으로 여겼던 자신의 삶이 송두리째 흔들리는 것을 경험한다. 세실리아가 찾아오지 않는 날은 뜬 눈으로 밤을 지새우고 매일 외출하는 것을 부모님들이 싫어한다는 그녀의 말에 새로운 그림 선생으로 위장, 부모님에게 인사까지 드린다. 그의 사랑은 연인에게 그녀 또래의 새 남자친구가 생겼다는 것을 알게 되면서 불같은 질투와 집착으로 변하게 된다. 매일 그녀의 전화만 기다리다 몰래 뒤를 밟기도 하고 일거수일투족을 캐물으며 세실리아를 독점하기 위해 온갖 노력을 쏟는 마르땅. 그녀의 환심을 사기 위해 선물 공세는 물론, 현금도 주고, 청혼까지 해보지만 세실리아는 두 남자와의 연애를 포기하지 않고 급기야 새 남자친구와의 여행경비까지 부탁하는데... 두 남자를 동시에 사랑할 수 있다고 믿는 그녀 앞에서 그녀만을 독점하고 싶은 마르땅의 욕망은 더욱 강렬해진다. 그의 마음을 받아주지 않는 세실리아가 죽도록 원망스러우면서도 그녀의 그림자라도 붙들고 싶은 남자 마르땅, 어떻게 해도 그는 이 사랑을 멈출 수 없다.

[...] "History has made Vietnam one of my favourite places... The links that you establish with people and places very often seem totally unexpected. But it is not a question of chance. It is, among other things, a question of history, of a sequence of events, "that's how it is". Once that is admitted, you can spend a lot of time trying to understand why that is how it is." (Robert Kramer)

[...] "History has made Vietnam one of my favourite places... The links that you establish with people and places very often seem totally unexpected. But it is not a question of chance. It is, among other things, a question of history, of a sequence of events, "that's how it is". Once that is admitted, you can spend a lot of time trying to understand why that is how it is." (Robert Kramer)

[...] "History has made Vietnam one of my favourite places... The links that you establish with people and places very often seem totally unexpected. But it is not a question of chance. It is, among other things, a question of history, of a sequence of events, "that's how it is". Once that is admitted, you can spend a lot of time trying to understand why that is how it is." (Robert Kramer)

A house in the countryside. The trees, the cliff, the fire. A prehistoric image. Erika in the garden. Keja in the house. The river. A road tunnel. Television images: war, sports, porn movies, disasters in Africa, action movies. A man in dark glasses (Kramer) speaks of the man of the future, who can transmit the totality of his sensory experience, without the projection is no longer necessary: ​​there will be more here, more body. "All the movements in" Ghosts of Electricity "are tai chi movements, I try to work with the hands and the lower part of the body, pivoting only on the hips, without moving my feet. it comes from a whole physical tradition, it exists in "performance art", and many other people have followed the same path. "

A house in the countryside. The trees, the cliff, the fire. A prehistoric image. Erika in the garden. Keja in the house. The river. A road tunnel. Television images: war, sports, porn movies, disasters in Africa, action movies. A man in dark glasses (Kramer) speaks of the man of the future, who can transmit the totality of his sensory experience, without the projection is no longer necessary: ​​there will be more here, more body. "All the movements in" Ghosts of Electricity "are tai chi movements, I try to work with the hands and the lower part of the body, pivoting only on the hips, without moving my feet. it comes from a whole physical tradition, it exists in "performance art", and many other people have followed the same path. "

I saw this happen : Raye left home. Why ? To see what was waiting for her out there. Europe ! It didn't matter where she went, the Mediterranean coast, Strasbourg, Zurich, Berlin, she's young. Then her father, Abel, left. Perhaps he wanted something else to happen to him. Things began to happen on the ship, but Odessa is where it really began. So Nellie was left there alone. Maybe she couldn't have said it, but that's what she needed. I mean, to be alone with herself. That's why she sent Raye and Abel away. So without moving, with everything around her moving very fast and also in the microscope which is her work, Nellie had her own trip to make. As for this kind of travelling, that's what each of us did. I know, I was there.

I saw this happen : Raye left home. Why ? To see what was waiting for her out there. Europe ! It didn't matter where she went, the Mediterranean coast, Strasbourg, Zurich, Berlin, she's young. Then her father, Abel, left. Perhaps he wanted something else to happen to him. Things began to happen on the ship, but Odessa is where it really began. So Nellie was left there alone. Maybe she couldn't have said it, but that's what she needed. I mean, to be alone with herself. That's why she sent Raye and Abel away. So without moving, with everything around her moving very fast and also in the microscope which is her work, Nellie had her own trip to make. As for this kind of travelling, that's what each of us did. I know, I was there.

I saw this happen : Raye left home. Why ? To see what was waiting for her out there. Europe ! It didn't matter where she went, the Mediterranean coast, Strasbourg, Zurich, Berlin, she's young. Then her father, Abel, left. Perhaps he wanted something else to happen to him. Things began to happen on the ship, but Odessa is where it really began. So Nellie was left there alone. Maybe she couldn't have said it, but that's what she needed. I mean, to be alone with herself. That's why she sent Raye and Abel away. So without moving, with everything around her moving very fast and also in the microscope which is her work, Nellie had her own trip to make. As for this kind of travelling, that's what each of us did. I know, I was there.

A director accepted to inquire about a mysterious coat stolen in Peru during the XVIth century. Who wove this coat? Why do those that touch it disappear? With the help of an archeologist, he retraces the itinerary of the mysterious garment: ripped off a mummy by a conquistador, brought back to Barcelona and confiscated by the clergy, taken by the French when Napoleon's troops ransacked the city, hidden on a French farm, the coat finally arrived in Berlin in 1945 in the suitcase of a fleeing SS officer...

This film project was made in 1996 to commemorate the 100th anniversary of the birth of the cinema.

In this film from late in his career, Kramer returns to Hanoi after nearly 25 years to re-envision the city’s struggle through an uncertain and daunting past, present, and future. The Vietnamese characters in the film are diverse: Kramer’s former guide from an earlier visit in 1969; a tight-rope walker in the national circus; a man who took photos of B-52s and another who lost his fingers shooting them down.

In this film from late in his career, Kramer returns to Hanoi after nearly 25 years to re-envision the city’s struggle through an uncertain and daunting past, present, and future. The Vietnamese characters in the film are diverse: Kramer’s former guide from an earlier visit in 1969; a tight-rope walker in the national circus; a man who took photos of B-52s and another who lost his fingers shooting them down.

The French Ministry of Culture commissioned films on the cultural decade "en chantiers". Robert Kramer makes one of the six short films that illustrates the cultural side of the decade Mittérand. Here we see a director of cinema in the suburbs of Caen, in her room lined with flower paper. This for art and essay cinema. There, the critic Serge Daney in a sailor's cap, for a chat by the fire. An overview of French cinema today, "Pickpocket" on television. Then back on you. The camera slides on the desk that we imagine to be Kramer's. Finally, the camera flies over Paris, slides along the facades, stops on a window, entering the skylight: "The films invite to see ... I invite you to see Jean Genet's hotel room."

The French Ministry of Culture commissioned films on the cultural decade "en chantiers". Robert Kramer makes one of the six short films that illustrates the cultural side of the decade Mittérand. Here we see a director of cinema in the suburbs of Caen, in her room lined with flower paper. This for art and essay cinema. There, the critic Serge Daney in a sailor's cap, for a chat by the fire. An overview of French cinema today, "Pickpocket" on television. Then back on you. The camera slides on the desk that we imagine to be Kramer's. Finally, the camera flies over Paris, slides along the facades, stops on a window, entering the skylight: "The films invite to see ... I invite you to see Jean Genet's hotel room."

The French Ministry of Culture commissioned films on the cultural decade "en chantiers". Robert Kramer makes one of the six short films that illustrates the cultural side of the decade Mittérand. Here we see a director of cinema in the suburbs of Caen, in her room lined with flower paper. This for art and essay cinema. There, the critic Serge Daney in a sailor's cap, for a chat by the fire. An overview of French cinema today, "Pickpocket" on television. Then back on you. The camera slides on the desk that we imagine to be Kramer's. Finally, the camera flies over Paris, slides along the facades, stops on a window, entering the skylight: "The films invite to see ... I invite you to see Jean Genet's hotel room."

샹탈 아커만을 포함해 코스타 가브라스, 미셸 피콜리 등 33명의 감독들이 모여 30개국의 양심수들을 사면할 것을 주장하며 제작한 옴니버스 영화. 샹탈 아커만은 5분 길이의 단편 "엘살바도르의 페베 엘리자베스 벨라스퀘즈를 위하여"를 연출했다.

In Brazzaville, in 1944, Alex Emmerich was sentenced to wander the seas by Hélène Latray, the wife of Félix Beauvois, the man Alex loved. In 1962, exiled on Hatray cruises and feeling the coming death, Alex decides to compose for his love a testament: the photographic report of his agony.

"Hi Steve" and "Dear Robert" exchanged between two filmmakers: Robert Kramer and Stephen Dwoskin. "The Videoletters strip away the formalities that had littered our work and thinking. Through the making of the 'video letters' we started to relearn and re-look.". The Videoletters provide the benefits of reflection -- a lubricant for thought made out of very basic stuff -- the reduction of complexity -- and they cemented a brotherhood. Sadly, Robert's untimely death prevented the continuation of the "video letters" and they remain unfinished and unedited. (S.D.)

Lyrical video letter by Robert Kramer to his friend Paul McIsaac captured during the editing of “Route One/USA”.

Lyrical video letter by Robert Kramer to his friend Paul McIsaac captured during the editing of “Route One/USA”.

Lyrical video letter by Robert Kramer to his friend Paul McIsaac captured during the editing of “Route One/USA”.

Lyrical video letter by Robert Kramer to his friend Paul McIsaac captured during the editing of “Route One/USA”.

In 1990, Robert Kramer receives a grant from the Ford Foundation. He goes to Berlin for 6 months, where he makes an hour long single video shot (for a festival) in the bathroom of his apartment. Facing the camera, the filmmaker thinks, alone, about the fall of the Berlin wall. "I've already spent 6 weeks here. With all the events in eastern Europe, it was like a hurricane. Berlin is a city where you feel the biggest changes, where you meet Polish immigrants, or others, escaping. Berlin will become a very violent city. What happens in eastern Europe is a bit like the end of the civil war in the US. The North, and all it's power stimulated by years of war, took over the South, who has lost everything. And there is this German past, the war, on all levels.

Route One is the first major U.S. highway. 5000 km along the Atlantic coast, from the Canadian border to the tip of Florida. Doc, a physician who spent many years in Africa, returns to the U.S. and decides to reconnect with his home country by walking the legendary Route One.

Route One is the first major U.S. highway. 5000 km along the Atlantic coast, from the Canadian border to the tip of Florida. Doc, a physician who spent many years in Africa, returns to the U.S. and decides to reconnect with his home country by walking the legendary Route One.

An angry young man goes to Europe to find his father, a '60s radical turned doctor in exile.

An angry young man goes to Europe to find his father, a '60s radical turned doctor in exile.

A prostitute, released from prison, tries to change her life, but a murderous slave organization, the Consortium, is determined to bring her back to the fold or kill her, which forces her to seek help from Liberty, an anti-Consortium group.

A prostitute, released from prison, tries to change her life, but a murderous slave organization, the Consortium, is determined to bring her back to the fold or kill her, which forces her to seek help from Liberty, an anti-Consortium group.

An old man is kidnapped. His interrogation uncovers the biography of a mass murderer: The 80 years old man was a SS leader and responsible for the killing of thousands of people in Russia. He also "invented" an evil technique of eliminating political prisoners: the manipulated suicide. Thomas Harlan reconstructs the history of a bureaucratic murderer, he also develops a direct connection between the Nationalsocialism and the treatment of prisoners of the RAF terrorists in the Stuttgart isolation prison. Robert Kramer filmed the shooting of Harlan's Wundkanal: Notre Nazi documents a social experiment in which the children of Nazis and of victims meet a real culprit. The reality seems to be stronger that the fiction in Harlan's film. (Edition Filmmuseum)

A film about birth Robert Kramer directed for TV.

A film about birth Robert Kramer directed for TV.

A film about birth Robert Kramer directed for TV.

A film about birth Robert Kramer directed for TV.

In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.

In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.

In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.

A woman is approached by a man. Frightened, she runs away. A film on the physiological mechanisms of fear.

"Essay on the Military and the Power", a phrase that also belongs to the title of "Gestures & Fragments", sums up the spirit of the film, based on three points of view on the same theme: Otelo Saraiva de Carvalho and Eduardo Lourenço, in their own roles, and the one played by Robert Kramer, as an American journalist bent on seeking explanations for the process of the Portuguese Revolution.

"Essay on the Military and the Power", a phrase that also belongs to the title of "Gestures & Fragments", sums up the spirit of the film, based on three points of view on the same theme: Otelo Saraiva de Carvalho and Eduardo Lourenço, in their own roles, and the one played by Robert Kramer, as an American journalist bent on seeking explanations for the process of the Portuguese Revolution.

A young couple who are amateur roller-skating buffs practice their chosen avocation at a Parisian roller rink. Their hopes rise with a chance to go to Chicago to compete, especially when a magazine reporter assures them that his company will back them -- but then lets them know some sex-related business is a part of the package. Caught up in the couple's drama are several other characters who look like they might need some help themselves, making the problem of how to get to the Windy City seem more and more insoluble.

During the 1982 Cannes Film Festival, Wenders asks a number of global film directors to, one at a time, go into a hotel room, turn on the camera and answer a simple question: "What is the future of cinema?"

영화감독 프리드리히는 리스본에서 "세계가 멸망한 날(Day the World Ended)"(로저 코먼, 1955)의 리메이크 작업을 진행하던 중 제작비가 다 떨어져 잠시 촬영을 중지한다. 미국에 있는 제작사의 연락을 기다리는 동안 프리드리히는 스태프들과 무료한 시간을 보내며 도시 곳곳을 돌아다닌다. 1982년 베니스영화제 황금사자상 수상.

영화감독 프리드리히는 리스본에서 "세계가 멸망한 날(Day the World Ended)"(로저 코먼, 1955)의 리메이크 작업을 진행하던 중 제작비가 다 떨어져 잠시 촬영을 중지한다. 미국에 있는 제작사의 연락을 기다리는 동안 프리드리히는 스태프들과 무료한 시간을 보내며 도시 곳곳을 돌아다닌다. 1982년 베니스영화제 황금사자상 수상.

Reel 13 of Gérard Courant's on-going Cinematon series.

The film concerns a group of disparate types who support themselves by running guns to the Arabs. On the surface, it would seem that these characters are bad guys. In fact, the guns are to be used by a resistance group who hope to continue shipping oil to the West, despite the despotic curbs imposed upon fuel shipments by their leaders.

The film concerns a group of disparate types who support themselves by running guns to the Arabs. On the surface, it would seem that these characters are bad guys. In fact, the guns are to be used by a resistance group who hope to continue shipping oil to the West, despite the despotic curbs imposed upon fuel shipments by their leaders.

The film concerns a group of disparate types who support themselves by running guns to the Arabs. On the surface, it would seem that these characters are bad guys. In fact, the guns are to be used by a resistance group who hope to continue shipping oil to the West, despite the despotic curbs imposed upon fuel shipments by their leaders.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

A woman translates the front page of H.P. Lovecraft's book “The Silver Key”. Her husband, a journalist, listens. The book describes the conflicts between the real and the imaginary, and tells how Randolph Carter, the film's character, leaves everyday life in search of his childhood dreams.

Combining newsreel footage, still photographs, interviews, and analytical narration, this documentary focuses on the antifascist, anti-imperialist efforts of labor groups, peasants, and working-class soldiers to liberate Portugal from the control of the government of Antonio de Oliveira Salazar.

Combining newsreel footage, still photographs, interviews, and analytical narration, this documentary focuses on the antifascist, anti-imperialist efforts of labor groups, peasants, and working-class soldiers to liberate Portugal from the control of the government of Antonio de Oliveira Salazar.

Combining newsreel footage, still photographs, interviews, and analytical narration, this documentary focuses on the antifascist, anti-imperialist efforts of labor groups, peasants, and working-class soldiers to liberate Portugal from the control of the government of Antonio de Oliveira Salazar.

A portrait of those individuals who sought radical solutions to social problems in the United States during the 1960s and 1970s. Cutting back and forth between six major story lines and more than fifty characters. Exploring the lifestyles and attitudes of the American left during the period following the Vietnam War.

A portrait of those individuals who sought radical solutions to social problems in the United States during the 1960s and 1970s. Cutting back and forth between six major story lines and more than fifty characters. Exploring the lifestyles and attitudes of the American left during the period following the Vietnam War.

A portrait of those individuals who sought radical solutions to social problems in the United States during the 1960s and 1970s. Cutting back and forth between six major story lines and more than fifty characters. Exploring the lifestyles and attitudes of the American left during the period following the Vietnam War.

A portrait of those individuals who sought radical solutions to social problems in the United States during the 1960s and 1970s. Cutting back and forth between six major story lines and more than fifty characters. Exploring the lifestyles and attitudes of the American left during the period following the Vietnam War.

"An underground revolutionary group struggles against internal strife to stage urban guerilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and restrain the melodrama inherent in the thriller genre." Written by Laurence Kardish, Museum of Modern Art

"An underground revolutionary group struggles against internal strife to stage urban guerilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and restrain the melodrama inherent in the thriller genre." Written by Laurence Kardish, Museum of Modern Art

"An underground revolutionary group struggles against internal strife to stage urban guerilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and restrain the melodrama inherent in the thriller genre." Written by Laurence Kardish, Museum of Modern Art

1969년 7,8월에 베트남 민주 공화국에서 촬영되었다. 전쟁이 한창일 무렵, 뉴스릴(Newsreel) 은 북 베트남으로 보내진다. 미국의 반전활동을 대표하는 9명으로 이루어진 이 대표단은, 로버트 크레이머, 존 더글라스와 노먼 프루츠터를 포함한다. 그들의 목적은 어떻게 경제적으로 낙후한 후진국가가 세계에서 가장 발달된 군대를 상대로 전쟁에 저항할 수 있는지를 알아내는 것이다. 북 베트남인들은 과학기술의 부족을 그들 ‘국민들의 혼’으로 만회했다. 그러나 이 표현은 미국인이나 서구인들에게 도대체 무엇을 의미하는가? 크레이머는 20년이 더 지난 뒤, 그의 두 번째 베트남 여행을 통해서 이 영화의 보충이자 ‘반대의 시각’을 가진 "출발점(Starting Place)"을 만든다. 1997년에는 "그러니까 이런거지 (SayKomSa)"라는 영화 촬영을 위해 다시 한번 베트남을 찾는데...

A troubled antiwar activist plans to assassinate the President of the United States. His resolve forces others in a fragmented and disillusioned group of political allies to face the threat of government counterintelligence and the temptations of middle-age security, and to reexamine their commitment to radical action.

A troubled antiwar activist plans to assassinate the President of the United States. His resolve forces others in a fragmented and disillusioned group of political allies to face the threat of government counterintelligence and the temptations of middle-age security, and to reexamine their commitment to radical action.

A troubled antiwar activist plans to assassinate the President of the United States. His resolve forces others in a fragmented and disillusioned group of political allies to face the threat of government counterintelligence and the temptations of middle-age security, and to reexamine their commitment to radical action.

During the Vietnam War, a young revolutionary, isolated with his lover in a country house, struggles to comprehend his self-inflicted inactivity and his alienation from former political associates.

During the Vietnam War, a young revolutionary, isolated with his lover in a country house, struggles to comprehend his self-inflicted inactivity and his alienation from former political associates.

During the Vietnam War, a young revolutionary, isolated with his lover in a country house, struggles to comprehend his self-inflicted inactivity and his alienation from former political associates.

During the Vietnam War, a young revolutionary, isolated with his lover in a country house, struggles to comprehend his self-inflicted inactivity and his alienation from former political associates.

Machover and Fruchter's intimate documentary follows the trials and tribulations of a group of Students for a Democratic Society militants in their attempt to politicize and organize the people of Newark, New Jersey. For Amos Vogel, Troublemakers was one of the best films of the New Left because it eschewed "both clichés and propaganda" in favor of "honesty" and "careful exploration." A must watch both for activists and political documentarians. (Doc Films)

This 1965 documentary portrait of a civil war is today a remarkable time capsule of Venezuelan political and social history, and valuable background to the ongoing social conflicts in that country. FALN chronicles key events of the era, from the 1958 overthrow of dictator Perez Jimenez, and the flawed attempts at social reform by Romulo Betancourt's government, to the 1962 emergence of the national liberation movement- the FALN. The FALN engaged in rural and urban guerrilla struggle throughout the Sixties, but, failing to achieve its desired coup d'etat or to gain the support of the nation's poor, the organization had largely dissipated by the end of the decade. A compilation documentary incorporating both archival footage and original scenes shot by members of the revolutionary movement, FALN draws parallels with American foreign policy in other countries, particularly Vietnam.