All Films

A raccoon’s habitat is destroyed by construction of a new shopping center and he gets into all sorts of trouble trying to find a new place to live.

This documentary chronicles an Yves Montand concert for Chilean refugees in France.

Mother Earth and Father Time converse about the choices humans make. Preserved by the Academy Film Archive in 2010.

Story of the friendship between a little boy and his dog.

The story is about a nasty boy who blackmails his older sister and the young man who is in love with her.

An educational documentary short film on choro, an authentic brazilian musical genre, and its biggest and most influential musicians.

Frothy sexy interpretation of Fred Astaire's Putting On The Ritz. An animated cabaret performance with a chorus line of dancers.

"Like all the works I have done which refer directly to another artist, After Lumière… is not directly 'about' the Lumière original. It is the starting point for an investigation. In this case it is an investigation into consequentiality, or at least the significance of sequentiality in the construction of meaning and concept. As such, the film encroaches on 'narrative' cinema, but in a way which treats narrativization as problematic, not transparent." - Malcolm Le Grice

Popular manifestation in extinction, presented with its local musicians and their handmade instruments.

A 1974 dramatised documentary based on the memories of Alfred Maron.

A filmmaker witnesses an act of racist police violence in Paris. He discusses with a friend whether and how he should make a film out of this.

This short film is told in the first person by Rose, a Métis woman from northern Alberta who has left a difficult life in the city to rediscover her roots by returning to her Woodland Cree community. Rose reveals the racism, isolation and health issues she faced when trying to make a life for herself outside her home community, and how she is able to help others now that she has reconnected to her culture. The film is part of a 1970s series of eleven films title Working Mothers by producer/director Kathleen Shannon, exposing inequality for women in accessing education, childcare, and equal pay. These films led to the creation of Studio D at the National Film Board, the world’s first feminist production studio. 

It catches the essence of the no man’s land in which an accused artist found himself. In the hysteria of the political witch hunt neither society nor the law offered a way out.

A pair of spies disguised as tourists are stalked by mysterious figures in Mexico's most attractive locations.

An animated film for younger audiences about chickens and a duckling who outsmarted a cunning fox.

"HER" to me is always Jane, in the first place, but also Hera: "goddess of women and marriage," naturally enough. Then, too, as it is a hymn of light, and as he/me feels the self that way, it sings of and to itself.

Moliere himself gave a prototype of a morally consistent and uncompromising person who is thus in conflict with the whole world. Miroslav Karaulac’s drama tries to portray the character of one such misanthrope as he might look in our milieu.

Explores the extraordinary artistic, cultural and political flowering that took place in Harlem during the "Roaring 20s." This vivid portrait of the "Harlem Renaissance" is created entirely with period photographs.

Synthavision was an early computer CGI technology developed by MAGI (Mathematical Applications Group, Inc.), and one of the first systems to implement a ray-tracing algorithmic approach to hidden surface removal in rendering images, using solid primitives with combinatorial operators rather than the polygons or wireframe meshes that most CGI companies use today. This demo sampler was directed by golden age animator Jack Zander and designed by Joanne Mitchell, and showcases the technology and its capabilities through short segments of experimental animation and colorful compositions.

The program, deftly taped on a studio sountstage simulating the cobbled streets, stately, facadest colorful produce and quaint shops of the Drury Lane Theater, area in London, is linked to the atmosphere and history of the famous old showcase. Miss Andrews and the two Americans cavort in some very funny slapstick, including a “Cinderella” take‐off of traditional English pantomime. Even a tender, dramatic vignette, with Miss Andrews and Mr. Van Dyke in a fogshrouded meeting during World War II, Works appealingly. The songs flow almost continuously, enhanced by the muscular leaping of the Paddy Stone Dancers, clad as Covent Garden street workers. The ensemble finale is dandy, with a cavalcade of excerpts of songs from American hits at the Drury Lane, from “Rose Marie” to “Hello, Dolly!” Miss Andrews sings as beautifully as ever. Blake Edwards produced, Dennis Vance directed, and Marty Farrell, Frank Waldman and Dick Hills wrote the program.

5-year-old Robert lives in a newly built suburban area where all houses look exactly the same.

16mm. In one of the first films to use computer animation, director Peter Foldès depicts one man’s descent into greed and gluttony. Combining traditional and computer animation (one of the first to use it!), Peter Foldes, through clever metamorphosing images and powerful line drawings, provides a moralistic tale of one man’s enormous appetite and selfish consumerism. Growing more corpulent and repulsive, his indigestion leads to a nightmare where he is consumed in a hell of emaciated bodies. By extension, this film indicts affluent nations and individuals in a world where many starve.

In the 1960s, as West Indians, Pakistanis, Indians and Africans began to arrive in Britain from former British colonies, race became a political issue. In the 1964 General Election, a swing to the Conservative Party in Labour’s Smethwick constituency and Enoch Powell’s “rivers of blood” speech on immigration four years later put attitudes towards ethnic minorities on the political and social agenda. In One British Family, made in 1974, John Pilger focuses on Gus and Julie Gill, who arrived in Britain from Trinidad in 1961. They now had three children and their own house on Tyneside, where they were the only black family in the street. “They take less from the social services than the equivalent white families,” says Pilger. “They’re not on any council’s housing lists and they’ve never been out of work.”