Sullivan's Banks (2001)

Famed Swiss architect and artist Robert Maillart was renowned for his concrete bridges; this documentary examines the elegant design of his engineering masterpieces, which, the film argues, embrace both functionality and aesthetics. Instead of following a traditional journalistic structure, director Heinz Emigholz's spellbinding film reads more like ethereal visual poetry, allowing the beauty of Maillart's work to speak for itself.

Worn-down pavements, broken paving stones. Trees that jut out of the concrete, casting shadows on to crumbling façades. The centre of Tbilisi in the summer of 2013. Glimpses of side and main streets, over railings and under balconies, of an architectural cacophony. The voiceover spoken by Natja Brunckhorst reflects on the nature of streets and public spaces.

A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.

Vicente (Gabino Rodríguez) is a young farmer in a rural village who scrapes by while taking care of his ill grandmother. Several of Vicente’s uncles intend to their ailing mother’s land without her knowledge. Vicente seeks help from the municipal president who, between shooting hoops on a desolate court, tells him that if he wants justice, he must head to the capital to meet with government officials. Although he hasn’t seen her since he was a child, Vicente sets off in search of his mother, who works as a maid in maze-like Mexico City. With the help of his mother’s employer, a sophisticated middle-aged woman, he finds the government offices where he presents his case. His situation isn’t easily resolved, especially since he does not have the deed to his grandmother’s plot of land, and Vicente finds the complexities of the legal system to be completely overwhelming.

The story of "The Tolpuddle Martyrs". A group of 19th century English farm labourers who formed one of the first trade unions and started a campaign to receive fair wages.

The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.

Through a series of interviews and enactments we learn the story of Nico and Amalio, two children who lost a friend while climbing a mountain. Documentary and fiction seamlessly merge creating a hybrid, poetic film.

The final part of Heinz Emigholz’s "Streetscapes" series is again a triptych. A prologue examines three buildings from the 1930s designed by Julio Vilamajó in Montevideo which could have inspired the work of Eladio Dieste, the subject of the main part of the film. The industrial and functional buildings presented span the period from 1955 to 1994; their organic brick construction is astonishing and inspiring.

Um poema erótico que explora os devaneios de um prostituto gay. Na reclusão de seu apartamento ultra-kitsch, ele cria uma série de fantasias narcisistas com assassinos, dançarinos, escravos e motoqueiros com roupas de couro.

Sobre como o solo pode ser cultivado de maneira ecologicamente viável e as lutas do Movimento dos Trabalhadores Sem Terra. Desde 2015, uma área de terra é ocupada por um grupo de trabalhadores, que exige que seja redistribuída. O documentário considera imagens impressionantes para dar uma idéia da vida cotidiana em resistência, partes iguais de trabalho agrícola e ativismo político.

A West African pig farmer has a religious vision, wherein he is told that he'll be Magloire the First, a prophet of Christ. He then sets out to rid his local villagers of superstition and instead save them for Jesus.

This documentary offers a rare glimpse of the legendary Soviet filmmaker, Andrei Tarkosvky, at work. Tarkovsky made only seven films in his brief, but brilliant, career; Michal Leszczylowski's respectful movie chronicles him at work on his last film, The Sacrifice. Offering insight into Tarkovsky's working methods and transcendental aesthetics, the movie is a compelling account of the difficulties of film production. In the case of an uncompromising and visionary filmmaker like Tarkovsky, the practical problems of filmmaking are only magnified, as cast and crew struggle to realize the ambitious concepts in Tarkovsky's mind.

The travels in Italy of director Andrei Tarkovsky in preparation for the making of his film Nostalghia.

Marion rouba uma grande quantia de seu patrão e foge da cidade, eventualmente parando em um motel remoto. Lá, ela é servida por Norman Bates, uma pessoa muito estranha, mas dócil, que ela sempre escuta discutindo com sua mãe controladora. Marion é brutalmente assassinada após aquela noite; Norman encontra e esconde o corpo. Quando um detetive e a irmã de Marion visitam o motel para investigar, eles descobrem a terrível verdade.

Especial para a televisão do clássico filme de 1975. Um casal que prestes a se casar, parte em uma viagem de carro antes da cerimônia. Porém, no meio do caminho o carro quebra e eles decidem procurar ajuda e encontram o castelo do Dr. Frank N Furter, um cientista maluco que dedica sua vida ao prazer.

Agora que o verão acabou e as aulas começaram, o relacionamento de Brady e Mack parece que está esfriando — até que Lela, Tanner e a turma de "Onda, Sublime Onda" aparecem! Deslumbrada com as novidades e a variedade do mundo moderno, Lela quer ficar, mas o mundo real e dos filmes não podem se misturar. Será que Mack e Brady encontrarão a magia para mandar os garotos para casa e voltar a viver seu romance antes que seja tarde demais?

The Darkness of Day is a haunting meditation on suicide. It is comprised entirely of found 16mm footage that had been discarded. The sadness, the isolation, and the desire to escape are recorded on film in various contexts. Voice-over readings from the journal kept by a brother of the filmmaker’s friend who committed suicide in 1990 intermix with a range of compelling stories, from the poignant double suicide of an elderly American couple to a Japanese teenager who jumped into a volcano, spawning over a thousand imitations. While this is a serious exploration of a cultural taboo, its lyrical qualities invite the viewer to approach the subject with understanding and compassion.

An old man reflects on his entire life. How quickly it all goes by.

A freighter crosses the ocean. The hypnotic rhythm of its gears reveals the continuous movement of machinery devouring its workers: the last gestures of the old sailors’ trade disappearing under the mechanic and impersonal pace of 21st century neo-capitalism. Perhaps it is a boat adrift, or maybe just the last example of an endangered species. Although we don’t know it, the engines are still running, unstoppable.

O filme reinterpreta um famoso mito português que explora a vida da figura religiosa de Santo Antônio.