An innovative 'magic realist' documentary set in Iraq. Filmmaker Mark Cousins, who was brought up in a Northern Irish war zone, travels to Goptapa, a Kurdish-Iraqi village of just 700 ... See full summary »
Gharib Ahmad Rauf,
A Story of Children and Film is the world's first movie about kids in global cinema. It's passionate, poetic, portrait of the adventure of childhood: its surrealism, loneliness, fun, ... See full summary »
Filmmaker Mark Cousins goes to Albania for five days, and films what he sees. He discovers that the movie prints in the country's film archive are decaying. In investigating this, Cousins ... See full summary »
In this documentary about low-budget filmmaking in upstate New York, you'll learn how affordable digital-video technology has changed the lives of the artists behind action flicks, monster ... See full summary »
An epistolary feature film: a cinematic discourse between a British director, (Mark Cousins, the celebrated film maker and historian) and an Iranian actress and director (Mania Akbari, ... See full summary »
Film critic and historian 'Mark Cousins' uses film clips, interviews with filmmakers, and illustrative footage of locations around the world to take viewers through film and filmmaking history, from the late 19th century to today, with a particular emphasis on world cinema. Written by
Well let me admit I bought out of this one after three hours, at the point where the word "Sound" comes up in big letters.
Here are all the familiar titles and talents being trotted forth once more, this time in murky dupes spaced by some quite nice travel shots, that they thrash for no particular reason other than to get the running time up or justify the plane tickets. Poor Stanley Donen figures at intervals without saying anything notable - probably because he wasn't asked to.
We get to the end of the silent section without seeing a cowboy. Florence Lawrence has a (not bad) section. Bronco Billy Anderson doesn't. The writer-director-pundit ticks off the eight (count 'em) national industries that provide the qualities he can't find in Hollywood and, once again, we never set foot in the Balkans or the Hispanic nations. Ruan Lingyu stands in for Shanghai, three of the thirty "Expressionist" films for six hundred German titles.
You sit there waiting for the kind of "Hey, that makes sense!" moments that you got in the US CINEMA BBC series or the breath catching quality of the images in Enno Patalas' METROPOLIS documentary.
I don't know which is more depressing, this series or the much touted critics poll that an English magazine called Sight & Sound just ran again. Suspect achievements are lauded. Making notable talents invisible is endorsed.
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