In 1965, on the Eastern Shore of the Chesapeake Bay, there was the last operating fleet of sailing work boats in the United States. Forty-odd "Skipjacks" were still used by Maryland watermen to dredge up oysters from the Bay. At that time, the fleet had survived because of a Maryland conservation law which prohibits the use of motor power for oyster dredging. The watermen traditionally marked the opening of each oystering season with a skipjack race which the Maryland State Tourist Board incorporated into its annual "Chesapeake Bay Appreciation Day."
The first of the modern fishing films, shot in the wild panorama of 1970s Key West. Colorful scenes of Key West from another era - with treasure hunters, smugglers, hippies and eccentrics - are background to stunning cinematography and tarpon fishing at its finest.
In Paul Brandt’s filming debut, he joins friend Paul Norris and legendary fly-fishing guide, Naoto Aoki, on a journey that is both a look into his consuming passion for fly fishing and an ode to his hometown of Calgary, which he dubs as the World’s Largest Fly Fishing Lodge.
One million Dutchmen (out of 16 million) play soccer. Almost two million fish at least once a year. Fishing might be the most remarkable sport in the world.
Danish documentary following different locations and situations in Greenland anno 1914. It comes around settlements, hunters, steamboats, umiaks, a kayak race, and a football match.
In a Canadian mountain resort, Vixen Palmer resides with her naive pilot husband Tom. While he's away flying in tourists, she sleeps with practically everybody including a husband and his wife, and even her biker brother.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.
A Southern soldier in the American Civil War is sent to reconnoiter the enemy positions and becomes trapped beneath a huge pile of rubble by Northern cannon fire.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
