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Depicting the adventures that can be had in a creatively structured museum, this dialogue-free guide to San Francisco's Exploratorium illustrates well the myriad of devices that it contains. Some exhibits are more interactive than others, some emit weird noises but most offer the visitor an opportunity to see the practical application of science in an easy to appreciate fashion. Light, vibration, acoustics, electrical currents and even elementary visual technologies all feature amongst the attractions. Some clearly have more practical functions than others, but what director Jon Boorstin succeeds in doing here is to disabuse us a little of the image of a museum as a place of crusty artwork and inanimate activity. This in an environment that's designed to educate, sure, but in an entertaining, puzzling and rewarding fashion. Judging by the audio we do hear, folks are having an good time and we even get an hint of just how some of the things work, too!
Esperança, 15, has just arrived in France from Angola with her mother. At Amiens station, they don’t know where to sleep and look for someone who can help them.
Twenty-five films from twenty-five European countries by twenty-five European directors.
In 2020, unable to travel, Ico Costa left a small camera with Ailucha and Domy, two young Mozambicans from the city of Inhambane, and asked them to film their daily lives. The result: working, playing, walking, hanging around, smoking, listening to music, singing, dancing, feeling desire – being teenagers.
The Oil Symphony is a film about the heroic efforts of Azerbaijani labourers drilling for oil.
An obituary for Victor Jara, the Chilean folksinger who was murdered in a football stadium by the military junta during the days of the September 1973 coup.
Florence is a contemplative study of light and shadows, textures and planes, that makes beautiful use of the tonal qualities of black and white film. (mubi.com)
A documentary covering the trials of James Hanratty, perceived to be wrongly accused at the time and one of the final eight people in the UK to be executed before capital punishment was effectively abolished.
An identity picture and the memory of Contla village through its Día de Muertos festivity. Celebration where the making of traditional bread, an offering colocation, and the embellishment of their family get mixed with mysticism and the yearning of the people community, preserving a tradition that interweaves for moments as a remembering in the México's heart.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
