In 1923 the scientist Von Dracula invented Vampisol, a drink that allowed vampires to live in the sun. La Capa Nostra and the European Vampire Group confront each other in Havana to control the Vampisol, but Pepe, Von Dracula's nephew, sang the Vampisol formula for free on Radio Vampiro Internacional. Now Pepe must face the Nazi vampires, who use the most powerful Vampisol: El Vampiyaba.
French essay film focusing on global political turmoil in the 1960s and '70s, particularly the rise of the New Left in France and the development of socialist movements in Latin America.
Composed entirely of still photographs shot by Marker himself over the course of his restless travel through twenty-six countries, If I Had Four Dromedaries stages a probing, at times agitated, search for the meanings of the photographic image, in the form of an extended voiceover conversation and debate between the "amateur photographer" credited with the images and two of his colleagues. Anticipating later writings by Roland Barthes and Susan Sontag (who professed her admiration for the film) If I Had Four Dromedaries reveals Marker's instinctual understanding of the secret rapport between still and moving image.
In a humanitarian camp opened in Paris, refugees are in transit. In this "first reception" center, they are resting from the street where they were stranded when they arrived in France. A few days of humanity, that we spend with them. But already, they have to face the Prefecture and hear the cold administrative sentence. We are always with them.
The violent break-up of former Yugoslavia is described from the Serbian point of view, using the story of ethnically mixed couple in war-torn city of Vukovar as metaphor.
A series of 43 documentary shorts, directed (without credit) by several famous French filmmakers and each running between two and four minutes. Each "tract" espouses a leftist political viewpoint through the filmed depiction of real-life events, including workers' strikes and the events of Paris in May '68.
Writer and pedagogue Fernand Deligny influenced a number of artists and French intellectuals. His work on autism influenced Deleuze and Guattari's theory of the rhizome. Francois Truffaut turned to his ideas to complete Les 400 Coups. Throughout the film Deligny plays with the possibilities of the camera to live and think closer to the human subject, offering with Le Moindre Geste a unique film to the world, one of most fascinating in French cinema. Situated [visually] between mountain western and integral neorealism, the film tells the story of two teenagers, escaped prisoners of an asylum, running away through the Cevennes.
Recounts Ireland's history from British colonization to the territory's division in 1922, then from 1968 details a decade of events through images and eyewitness accounts of killings and such massacres as the infamous "Bloody Sunday" as the IRA argues their cause.
In May 1968, workers, students and young people rise up against the morality and power of the establishment. Faculties and factories are under occupation. Barricades are erected. Paving slabs are launched. Words give way to actions. This is the confrontation. These images bear witness to the men and women who, in their indignancy, march towards their revolution. 50 years ago, as part of our ARC collective, we filmed the uprising of May and June 1968. Out of this material and scenes borrowed from our other filmmaker friends, we created this film.
Paris, Latin Quarter. A small cinema that is both famous and marginal, Action Christine. The cashier has taken her camcorder and takes us to this public place, her workplace. Place of life, of passage, of meeting, a window open on the street, behind the hygienic phone, it is the daily life of the cashiers and the openers punctuated by the alternation of surging entrances and idle intersession.
Marta and Karina are sex workers also studying to become lawyers. Filmed over ten years, this documentary captures their unlikely journey from prostitution to the defense of women's rights.
In the 1968 movement in Paris, Jean-Luc Godard made a 16mm, 3-minute long film, Film-tract No.1968, Le Rouge, in collaboration with French artist Gérard Fromanger. Starting with the shot identifying its title written in red paint on the Le Monde for 31 July 1968, the film shows the process of making Fromanger’s poster image, which is thick red paint flows over a tri-color French flag. —Hye Young Min
A documentary look at striking workers in a textile plant in Besançon, France, centering on interviews with workers about their motivations for becoming involved with the union and the struggles of their day to day life.
Young French immigrants to Sochaux dismantle the mechanism of exploitation in their daily lives as it was thought by Peugeot. They play and tell about the recruitment, hiring, scheduling, housing, and struggle that has been done in the ALTM - Homes for Young Workers.
A class struggle " Music Video ", in which Colette Magny sings a song in honor of the workers of the textile factory Rhodiacéta, whose six-week strike in 1967 caused a stir
SOUND DOCUMENTARY On April 27, 1968, workers from the Rhodiaceta factory in Besançon gathered at the village hall of Palente-les-Orchamps to attend the screening of the film À bientôt j'espoir by Mario Marret and Chris Marker. This documentary sound reproduces the critical debate that follows. In June 1969, at the end of the Wrestling Class , Pol Cèbe, the head of the Cultural Center of Palente-les-Orchamps, brings to the sound document a conclusion in the form of a report. Echoing an intense debate after the screening of To Soon I Hope , the movie The Hinge of Medvedkine Groups captures very well those moments when workers express their dissatisfaction with the way they were portrayed.
