Dans un hôtel surplombant le Mékong, à Nong Khai, dans la frontière entre la Thaïlande et le Laos, le cinéaste Apichatpong Weerasethakul et son équipe travaille sur un film intitulé Ecstasy Garden. Entre documentaire et fiction, nous assistons aux répétitions du film qui raconte la rencontre dans une terrasse d'hôtel au bord du fleuve Mékong entre Phon, une jeune fille, et Tong, un jeune garçon. La jeune fille apprend l'existence d'un "pob", un fantôme cannibale, et que sa mère Tante Jen en est un. La relation avec les deux parentes va peu à peu changer.
Saroj Kumar is a matinée idol and megastar in Kerala churning out hits one after the other. But a few of his recent movies, such as Vekkeda Vedi, turns out to be big flops. His new film, directed by Alex Samuel, gets cancelled on the first day of shooting when Saroj slaps fellow actor Shyam for some silly reasons. Pachalam Bhasi, the producer, tries for a compromise, but Saroj is not ready to apologise.
Žižek appears transplanted into the scenes of various movies, exploring and exposing how they reinforce prevailing ideologies. As the ideologies undergirding cinematic fantasies are revealed, striking associations emerge: from nuns advising following your desires at The Sound of Music to the political dimensions of Jaws. Taxi Driver, Zabriskie Point, The Searchers, The Dark Knight, John Carpenter’s They Live (“one of the forgotten masterpieces of the Hollywood Left”), Titanic, Kinder Surprise eggs, verité news footage, the emptiness of Beethoven’s "Ode to Joy", and propaganda epics from Nazi Germany and Soviet Russia all inform Žižek’s psychoanalytic-cinematic argument.
The documentary investigates the history, process and workflow of both digital and photochemical film creation. It shows what artists and filmmakers have been able to accomplish with both film and digital and how their needs and innovations have helped push filmmaking in new directions. Interviews with directors, cinematographers, colorists, scientists, engineers and artists reveal their experiences and feelings about working with film and digital.
The film interviews fans of The Shining who, using their own brands of film analysis, connect Kubrick's film with (among others) genocide of Native Americans, the Holocaust, and the Apollo 11 moon landing. The interviewees are not seen in Room 237, but rather, their commentaries and claims about the film are heard over a variety of visual clips (primarily from the film The Shining itself) which loosely connect with their dialogue.
The film focuses on the perpetrators of the Indonesian killings of 1965–66 in the present day; ostensibly towards the communist community where almost a million people were killed. When Suharto overthrew Sukarno, the President of Indonesia, following the failed coup of the 30 September Movement in 1965, the gangsters Anwar Congo and Adi Zulkadry in Medan (North Sumatra) were promoted from selling black market movie theatre tickets to leading the most powerful death squad in North Sumatra. They also extorted money from ethnic Chinese as the price for keeping their lives. Anwar is said to have personally killed 1,000 people.
The film is a partially fictionalised account of the relationship between Alfred Hitchcock and Tippi Hedren. In 1961, Hitchcock notices Hedren in a television commercial for a diet drink. He wants to turn her into the next Grace Kelly, with whom he had worked extensively during the 1950s. Hedren passes her screen test and is groomed for the starring role in Hitchcock's latest film, The Birds; the director instructs her about her dress and appearance.
As the film opens, a ninety-year-old Louis van Gasteren—a documentary filmmaker and artist famed in the Netherlands—is seated in a video editing suite, watching scenes of himself in the 1960s, a time when “anything was possible.” He reflects on how much he has changed, and that he is that same person and yet is not.
In 1931, 12-year-old Hugo Cabret lives in Paris with his father, a widowed, but kind and devoted master clockmaker. Hugo's father takes him to see films and loves those of Georges Méliès best of all.
Qu'est-ce que le cinéma "expérimental"? Avec malice, humour et poésie, Pip Chodorov invite ses amis cinéastes - Hans Richter, Peter Kubelka, Ken Jacobs, Jonas Mekas, Maurice Lemaître, Stan Brakhage et bien d'autres - à évoquer leur travail, et retrace cent ans d'histoire de l'avant-garde tout en évoquant son rapport personnel à cet art, à ces films et images ayant forgé son existence.
Seven Tulane University undergraduates – Sara, Nick, Beth, Malik, Maya, Blake and Gordon – drive to Sara's family vacation home on a private lake. There, Sara encounters her old boyfriend, Dennis, and his friend Red.
In 1979, Deputy Sheriff Jack Lamb (Kyle Chandler) of Lillian, Ohio, and his 14-year-old son Joe (Joel Courtney), mourn the death of his mother Elizabeth (Caitriona Balfe) in a steel mill accident. Jack blames her co-worker, Louis Dainard (Ron Eldard), as she was covering his shift while he recovered from a hangover.