Vieiros, vida y obra de Carlos Velo

A medium-length documentary commissioned by the Cuenca City Council. The documentary shows an honest, sincere, although sometimes mere tourist portrait, of the lands of Cuenca and its people, without artifice or imposture, with feeling and authenticity and at the same time with marked coldness.

The carnage in Sarajevo provides the focus of this French documentary which seeks to call attention to the terrible conflict in the hopes of finally ending it. The film is divided into five parts. Each part covers a time frame ranging from April 4, 1992, the beginning of the war, to the present. The major issues that occur are three-fold. It depicts the systematic genocide of Bosnians, the silence of Western countries, and the determination of the Bosnians to resist. They refuse to be seen as victims, even though the filmmakers portray them so. Also included are the origins and political aspects of the war. It offers interviews with participants. It also reveals how the U.S. State Department censored reports about Serbian death camps.

The film portraits the stage previous to the outbreak of the Mexican Revolution, from the end of Porfirio Díaz´ government, the social volatility, the ephemeral government of Madero and the presence of the working class in the figures of Villa and Zapata, until the signing if the Constitution of 1917. All of this through moving images, filmed during those events mainly by the Alva brothers, filmmakers of that time. Those images let us perceive the contradictory and shuddered glance of the people of that period.

Filmed to praise the work of the Spanish Ministry of Housing in solving the problem of shanty towns in Bilbao, it was made to be viewed by General Franco and not for public screening or distribution through the NO-DO newsreel. Although the short film was commissioned by the Ministry of Housing, director Jorge Grau produced a subtly critical work.

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In November 1936, a few months since the beginning of the Spanish Civil War, the government of the Second Republic moves to Valencia. In this situation, several Valencian artists and intellectuals decide to build four fallas — satirical plasterboard sculptures created to be burnt — to mock fascism.

A day in the life of Mr. Istvan and Ms. Magdi, neighbors for many years, is narrated by the building of Budapest where both live. The walls surrounding them reveal their small passions, stories and routines.

Documentarian Jose Sanchez-Montes turns his attention towards the late Cuban musician Ignacio Villa, known throughout the world as Bola de Nieve (Snowball), with this 2003 biographical documentary entitled simply Bola de Nieve. A master pianist, Bola de Nieve was a mainstay through the middle portion of the 20th century, with his music almost omnipresent in South America cinema throughout those formative decades. With Bola de Nieve's famous statement "I'm a sad person, but my songs sound happy" in mind, Sanchez-Montes also looks at the influence of the musician's African heritage and homosexuality upon Bola de Nieve's unique musical style.

Short documentary about social and economic situation in Galicia (Spain) in 1936

Denise Crosby takes a first look at the huge fans of "Star Trek" from around America and how the series has affected and shaped their lives.

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After the publication of a CD book with the poems of Leopoldo María Panero, musicians Carlos Ann and Enrique Bunbury travel to the Canary Islands to meet the "cursed poet", who is hospitalized in the psychiatric hospital of Las Palmas.

Dalibor K. is an industrial painter, amateur horror maker, the composer of angry songs, painter and a radical neo-Nazi. He is approaching 40, but he is still living with his mother Vera, Aged 63, and is yet to experience the real relationship with a woman. He hates his job, gypsies, Jews, refugees, homosexuals, Merkel, spiders and dentists. He hates his life, but he doesn’t know how to change it.

The Cell Phone Revolution is a revealing look at the enormous impact this small device has had on the way we live -- and the surprising dead ends and detours it took along the way. From a futuristic dream at the 1939 World's Fair -- the cell phone became a reality some thirty years later.

The Underground subcultures in Budapest are an integral part of the diverse and colorful Hungarian culture. The creators of the film - Esther Turan and Anna Koltay - wanted to explore what were the major youth music subcultures in the '90s and 2000s in Budapest. This film is a tribute to the underground subcultures of the city. In these series of films, these grass-roots groups deal with the social impact of their community building power and the role played by Budapest itself in the formation of these groups. The film explores the kind of atmosphere and unwritten rules, what were the dominant places, external signs, and symbols, or who were the central figures and what were the memorable stories. The film guides the viewer from the best bands to the message, from the typical attire to the cult bars. The new generation is a starting point, a complex retrospective of where it originated and why the colorful underground cultural life still characterizes Budapest today.

Martin Scorsese is among those paying tribute to Gene Tierney, the Academy Award-nominated American actress who was a leading lady in Hollywood throughout the 1940s and '50s.

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For how long have we been laughing? Are human beings the only ones to laugh? In the past, scientists tended to neglect such questions of laughter, leaving them to the philosophers. Jacques Mitsch's A NATURAL HISTORY OF LAUGHTER explores recent scientific attempts to explicate this most elusive of human faculties, undertaken by scientists who see it as a means of approaching some of the larger mysteries of neurology and human behavior.

When you listen to The Years, the debut studio recording from Urbanites, you're hearing a band in progress. They wanted to make The Years differently, and decided to record the album together, live, in the same space - Studio A of Electrical Audio in Chicago, Illinois. With the exception of limited overdubs, (vocals, drum ensembles and laptop atmospherics) each song represented one collective take, warmly captured to two inch analogue tape. This recording method embraced the mistake as much as the moment. They also chose to document the making of the record with a film, appropriately titled, 'You Can't Rewind The Years'. With a new understanding and years of progress to come, these longtime friends are making the music that they'd always hoped to. As they sing, in The Years' standout track Restless, "Not without trial, not without err - this brokenness is ours to share."