Founded in 1917, the Shabandar Café in Al Mutanabbi Street in the heart of the old centre of Baghdad was a cultural landmark where generations of Iraqis came to discuss and debate literature and politics. The cafe was a living repository of Iraqi intellectual history and one of the last places where people could gather to exchange ideas. Director Emad Ali had nearly completed filming for his project by the end of 2006. Then, in March 2007, a massive car bomb destroyed the Shabandar Café and all the bookshops on Al Mutanabbi Street, killing and wounded scores of people. Days later, Baghdad's poets and artists held a wake in the ruins of the street they loved so much. Emad took a small camera and returned to continue filming. He was attacked as he was leaving, his camera was stolen and he was shot in the legs and chest. Emad Ali’s own story provides a disturbing epilogue to his film about the Shabandar Café and Mutanabbi Street, both before and after they were destroyed.
A powerful and poignant film in which families and friends of those who have died fighting in Afghanistan and Iraq talk openly about their loved ones and their grief.
Fidelis Cloer is a self-confessed war profiteer who found The Perfect War when the US invaded Iraq. It wasn't about selling a dozen cars, or even a hundred, it was a thousand-car war where security would become the ultimate product.
Michael Moore's view on how the Bush administration allegedly used the tragic events on 9/11 to push forward its agenda for unjust wars in Afghanistan and Iraq.
Did America rush into a war in Iraq for which it was unprepared? FRONTLINE examines why the U.S. went to war in Iraq, what went wrong in the planning for the postwar occupation, and what was at stake for both the U.
A chronicle which provides a rare window into the international perception of the Iraq War, courtesy of Al Jazeera, the Arab world's most popular news outlet.
In this revealing program, noted author and economic activist Naomi Klein offers a lecture and a candid interview in which she expounds on the ideas at the heart of her best-selling book.
Programming the Nation? takes an encompassing look at the history of subliminal messaging in America. According to many authorities, since the late 1950s subliminal content has been tested and delivered through all forms of mass-media including Hollywood filmmakers Alfred Hitchcock and William Friedkin. Even our modern military has been accused of these practices in the "war on terror" against soldiers and civilians both abroad and at home. With eye-opening footage, revealing interviews, humorous anecdotes, and an array of visual effects, the film categorically explores the alleged usage of subliminals in advertising, music, film, television, anti-theft devices, political propaganda, military psychological operations, and advanced weapons development. Director Jeff Warrick makes it his personal mission to determine if these manipulative tactics have succeeded in "programming the nation?
Popular movie trailers from 2007
These some of the most viewed trailers for movies released in 2007:
A troubled young black teenager Maxine rescues an eccentric old lady Eve from an unhappy slap by a mixed-race gang of teens and is rewarded for her act of kindness with the gift of a terrible secret: how to make and operate a WISHBABY.
Michael Cockerell tells the story of how prime ministers have coped with life after Number Ten, after Tony Blair became the youngest member of the ex-PMs' club for a hundred years.
One among the few sci-fi movies in Malayalam, 'Bharathan Effect' tells the story of Bharathan (Biju Menon) who is a genius inventor struggling to make ends meet.
Four lonely and disenfranchised urbanites in contemporary Mexico City: a preteen boy under tremendous emotional strain, the pretty cashier with whom he is infatuated, an enraged and embittered cabbie, and the estranged daughter of one of his fares.
A true story of a courageous boy who becomes a legend. Living a dream that wouldn't die; his passion empowered him to historically change the course of baseball.
