Essay 1986

A boy writes an essay about a bad day.

Hypertable – Essay on Friendship 2017

On a mission to define friendship, Filippo Filliger weaves together, like a Chinese portrait, objects, memories, and affection. A fine gesture, simultaneously generous and modest, which is successful in approaching and translating an intangible matter; that which even sometimes manifests itself in the mere obviousness of its existence. Although feelings cannot be represented, they may at least be invoked, such as the figure of the synecdoche—one part to skim over everything, in this specific case. The image on film holds itself at a distance from the sound and exacerbates a feeling of in-betweenness: time passes, impressions fade, while relationships are built, imperceptibly.

Essay on love 2014

Essay on love is, above all, an experimental film. A hybrid of fiction and documentary, it brings reality and fantasy to discuss that which is the most important thing for some, and the least important thing for others: Love. Love is actually in every place and human activity we look at: art, business, advertising, sports, entertaining, religion, education, politics, etc. What is this thing that is so present in our lives? Why we are so desperate in having, possessing, idealizing or despising love? Everyone talks about it. Creates songs about it. Declares themselves to be loving human beings... What do they mean with all of this? "Essay on love" gives you a glimpse on this subject. On how people relates themselves to the concept of love, and as a film, is an attempt to approach this wonderful thing that love is, through cinema.

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Essay In The Desert 2017

Water is a precious commodity anywhere but all the more so in the desert where competition for it can come from any quarter.

An Essay on Pornography 1973

A pseudo-documentary about the making of an 8mm porn film in Australia. Director Chris Cary provided a moralising prologue and epilogue to the film, with the rest of the material presenting, and considering, the thoughts and experiences of people involved in making the porn show. Helen Mason plays herself, auditioning for a role in the porn film because she's unemployed and she hopes that the part may lead to other acting opportunities, like Jane Fonda in Klute.

An Essay of the Rain

An Essay of the Rain (2017) The sound of raindrops falling on the roof, the lush green mountains, the colorful umbrellas, flowers, the rainbows, the romance in the air, the blooming fields, the flowing rivers... many a words have been penned to describe the romance of nature and rain. Many a poems, songs and long essays have been written about rain. Here is another essay of rain.

Ashes, An Essay on Fire 2012

Gerês, Portugal. Days are born with fire and die with it. Men renew the earth with ancient practices. All beings inhabit the same place.

40 Years: A Houston Essay 1989

A history of Houston, Texas, from 1949 to 1989, as seen through the cameras of local television station KPRC.

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Film-Essay on the Euphrates Dam 1970

The construction of a dam on the Euphrates River is an example of a country’s economic development. Through grandly composed images, rhythmic editing, and aestheticized details, the director demonstrates his admiration for the interwar avant-garde. The film is a celebration of the new, while at the same time showing a traditional way of life and calling attention to working conditions; it is a refrain-like evocation of an arid country that explores the difficult lot of Syria’s rural inhabitants.

Passing Girl; Riverside: an Essay on Camera Work

By Kwame Braun. Color, 24 mins, 1998. From distributor Documentary Educational Resources: At a street festival in West Africa, a young girl is delighted to discover a video camera trained on her. But her exuberant display is quickly cut short when she recognizes that the cameraman has already lost interest in her. But all is well: he has a document of the moment. Video has tipped the balance in another human interaction, and turned it into a curio. This experimental video essay probes the complexities of video as a tool for cross-cultural research and representation: it examines, in effect, the politics of its own production. How does the intrusion of this expensive technology distort relationships? What are the ethnographic filmmaker's responsibilites towards his "subjects?" Yet perhaps these concerns are themselves distortions, preoccupations that obscure a more balanced encounter, in which human accommodation can flow in both directions.

Free Cinema, 1956 - ? An Essay on Film by Lindsay Anderson 1985

A documentary about the history of the Free Cinema movement, made by one of it's greatest proponents, Lindsay Anderson, to commemorate British Film Year in 1985. Produced by Kevin Brownlow and David Gill. Unlike Richard Attenborough's celebratory episode of the same series, or Alan Parker's more aggressive show, which was balanced between celebrating the greats and attacking Parker's bugbears, Greenaway and Jarman and the BFI, Anderson's show accentuates the negative, painting an image of a British cinema in terminal artistic decline and trashing the ambitions and approach of British Film Year itself. It's mordantly funny and very savage.

Essaye-moi 2006

Quand Yves-Marie, 9 ans, demande à Jacqueline, qui a son âge : "Epouse-moi", elle répond par une pirouette : "Le jour où tu vas dans les étoiles, je te donne ma main."

Essays 1963

A cheerful take on the lives of school children in a Swiss rural environment. Young pupils recite short essays they have written on subjects such as the long walk to school, the distribution of milk during breaks, and a brawl in the courtyard. Second film by Peter Nestler.

Visual Essays: Origins of Film 1984

These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.

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