Encouraged to talk about what they watch on television, workers at the Santana Mill give their testimonies on the subject. One interviewee emphasizes the importance of being filmed and seeing herself on the screen. The opening of Globo's telenovela Selva de Pedra is repeated several times and some scenes from the plot are shown. Other scenes from Globo: Jornal Nacional, the American series Duro na Queda, and the opening of Fantástico. Man uses tractor battery to turn on TV. In the end credits, the director comes on stage and records her image handling pictures of the interviewees. The credits are presented "inside" a TV set. A TV set "planting" on the floor turns on the opening of the soap opera.
Playwright and director Nils Wijn brings his relationship issues to the stage. In his play "The Whore, the Virgin, and the Dying Man," he has his girlfriend Tessa appear in revealing lingerie and takes her to a real prostitute for some practical lessons.
On March 16, 1978, far-left terrorists of the Red Brigades kidnap Aldo Moro, leader of the Christian Democracy, the ruling party in Italy since the end of WWII.
In this daring follow-up to The History of White People in America, comedian Martin Mull takes us on an in-depth look at such topics as White Religion, White Stress, White Politics, and White Crime.
Writes Viola: "Sodium Vapor was recorded over a period of several weeks in the hours between one and five in the morning on the streets of an industrial area in lower Manhattan.
Ripley, the sole survivor of the Nostromo's deadly encounter with the monstrous Alien, returns to Earth after drifting through space in hypersleep for 57 years.
In this film, Humbert is on the trail of his own history. Wolfsgrub is the name of the house where Humbert's mother lives, and though she is getting on in years, she becomes young again as she answers her son's questions.
Imagine a surreal narrative, without dialogue, in a style reminiscent of the 1920s silent era and seen through the lens of moving voyeuristic camera that records the odd whereabouts of an unseemly group of marginal tenants.
This film deals with the contrasts of the Wilhelminian era in Berlin: the splendor of the monarchy, the economic and intellectual vitality of the up-and-coming imperial capital on the one hand, and the misery of the proletarians in the tenements on the other.
