Chantal Akerman, the Belgian filmmaker, lives in New York. Filmed images of the City are accompanied by the texts of Chantal Akerman's loving but manipulative mother back home in Brussels. ... See full summary »
At Baycrest, an old-age home in Toronto, we follow a social worker as she talks to residents, particularly Max, Claire, Ida, and Rachel. The film opens on Claire's birthday, she's 89; Max, ... See full summary »
Interview with Jason Holliday aka Aaron Payne, house boy, would be cabaret performer, and self proclaimed hustler giving one man's gin-soaked pill-popped, view of what it was like to be ... See full summary »
After the Portuguese government demolishes his slum and relocates him to a housing project on the outskirts of Lisbon, 75-year-old Cape Verde immigrant Ventura wanders between his new and ... See full summary »
Born of talks with four hundred disaffected teenagers in the suburban belt around Toronto, the film reflects their recurring theme: "Wouldn't it be great if we weren't hassled by parents ... See full synopsis »
After many adventures, a young female switchboard operator starts a love relationship with a serious young man. But while he's away on business, she gets lonely and succumbs to her ... See full summary »
Divided into three segments, namely 1 Neocolonialism, 2 Act for liberation, 3 Violence and liberation, the documentary lasts more than 4 hours this deals with the defense of the revolution ... See full summary »
Fernando E. Solanas
María de la Paz,
Fernando E. Solanas,
The couple in the film ended up staying together until 1971 before separating, during which time they added a daughter to the family. They divorced in 1972, and Antoinette later remarried. Billy Edwards was struck by a car and killed in 1995. See more »
Not just a time capsule, although that's part of it; this is a full-color archive of the physical details of middle-class Torontohood in the late sixties. The personal details, though, are personal details. Documentarian as nosey house guest, King plants himself among a very tenuous couple, their infant and their dog, and creates the kind of inevitably self-conscious psychodrama that is now familiar to us as post-Osbornes pop culturites. The outside eye seems to create an uncontrollable urge to embarrass themselves, just to make things interesting. But it's not just the merciful one-sitting format that makes this rendition of the tendency more bearable. It's King's (and of course camera guy Richard Leiterman's) eyes and ears; they give the hyperbole enough room to breathe, with all interactions seen through to some kind of conclusion instead of punched up in post. As a result, the raw intimacy routine has enough shape and rhythm and continuity to draw you into the argument instead of driving you to the remote.
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