The order comes in the summer of 1941 from propaganda minister Joseph Goebbels himself: The best animators are summoned to Berlin. Their task: Producing feature-length cartoons in ‘Disney-Quality’ with the newly founded ‘Deutsche Zeichenfilm GmbH’. To get trained, the Disney movie “Snow White” is re-traced frame by frame. After the final victory, one new feature-length production of quality shall be released every year from 1947 onwards. – that is the plan. Only in 1943, the first production is completed: “Armer Hansi” a 17-minute-long colour movie, realized with the effortful Multiplane-technology. The second film by the ‘Deutsche Zeichenfilm’ is only completed in 1946 – by DEFA. In the territories occupied by Germany, cartoons are produced as well, sometimes harmless ones, sometimes propagandistic ones. With excerpts from animated movies, life-action film documents, and witness reports by contemporaries, this documentary draws a picture of the cartoon production in the third Reich.
Long treated with indifference by critics and historians, British silent cinema has only recently undergone the reevaluation it has long deserved, revealing it to be far richer than previously acknowledged.
In buildings where foreign workers lived in Germany, there were strict rules of conduct, defined by the house rules and supervised by the building superintendents.
The film was shot in an old, decrepit building where dozens of guest-workers' families live. The owner, a local influential politician, has avoided paying for the maintenance of the building under the legal standards by using his connections to proclaim the building a national cultural heritage.
Eight hundred German filmmakers (cast and crew) fled the Nazis in the 1930s. The film uses voice-overs, archival footage, and film clips to examine Berlin's vital filmmaking in the 1920s; then it follows a producer, directors, composers, editors, writers, and actors to Hollywood: some succeeded and many found no work.
The epic and poetic tale of the early years of Italian cinema, from 1896 to 1930: how peplum was born, how the first stars shone, how many daring filmmakers were able to create an original style amalgamating literature, theater, painting and opera; a tale of splendor and decadence.
Tucumán, Argentina, 1965. Three years before George A. Romero's Night of the Living Dead was released, director Ofelio Linares Montt shot Zombies in the Sugar Cane Field, which turned out to be both a horror film and a political statement.
In the spring of 1939, Gilbert and Eleanor Kraus embarked on a risky and unlikely mission. Traveling into the heart of Nazi Germany, they rescued 50 Jewish children from Vienna and brought them to the United States.
Going through a journey of three filmmakers trail tracing Indonesia’s family cinema. From Indonesia to the Netherlands and back, they met Kwee Zwan Liang Cinema and Rusdy Attamimi Cinema, to a whole other level of the journey that brought them to not only culture issues in the public cinema but also on aesthetics and the truth of family cinema from a generation to the ones to come.
Jai is a peaceful man and doesn't partake in violence. However, when the drug mafia kills his sister, he is left with no choice but to defend himself and his family.
A film about fate, co-existence, vanity, justice, karma and forgiveness, ANIMALICOUS comprises six stories of people and the animals that shot them, fell on them, and generally caused mayhem of one sort or another.
Andy heads off to Cowboy Camp, leaving his toys to their own devices. Things shift into high gear when an obsessive toy collector named Al McWhiggen, owner of Al's Toy Barn kidnaps Woody.
A fairy-tale comedy about how a king decided to marry off both of his daughters on the same day. Princess Zlata is a true beauty who has no shortage of suitors.
Maria earns her living fishing in a northern Peruvian village, working alongside her husband. But when her husband is called away to work on larger industrial fishing boat, Maria, who is pregnant, finds ways to act out her anger.
