Rebellion

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão," lead by Antônio Conselheiro. The final result was a pentalogy of plays. This forth play deals with the cause of the war, when a judge from Juazeiro stopped a shipment of wood that was paid for from being delivered for the construction of the New Church of Canudos. Three expeditions were sent by the National Army and defeated, the last one commanded by the famous Colonel Moreira César. The Army faced the humiliation of soldiers deserting and running away, and the impaling of Colonel Tamarindo. He ended up being the main character in a macabre installation on the road to Canudos, created by the Jagunços (thugs from the sertão) and the Mandrakes to intimidate new expeditions.

Dedicated to "all the power of the Un-massacre of Art and to the effects of the Trans-Human power of the Crowd," the staging of the last part of the book deals with the fourth and last expedition by the Brazilian National Army to the Northeastern "sertão." 12 thousand soldiers, cannons, and modern weapons where deployed, together with modern strategists such as Marshal Bittencourt who, for the first time in the history of the Brazilian Army, established an operational base away from the front, from where he commanded the maneuvers that General Arthur Oscar and his deputy, the blood-thirsty General Barbosa, executed. The play shows the end of the War of Canudos, which resulted in the massacre of the sertanejos, the death of Antônio Conselheiro himself (who went to meet God), and the destruction of the citadel.

Nahal is around thirty and in her fourth month of pregnancy. During a routine check-up she learns that her baby has died and she now faces a curettage abortion in two days’ time. When she tries to address the subject, neither her mother nor her husband give her a chance to speak.

A pseudo-documentary about Spring Break in Daytona Beach, alternating footage of sunbathing teenagers with musical performances from the Tams, Billy Joe Royal, the Swinging Medallions and Grand Funk Railroad.

Young photography model Susanna and her alienated teenage brother Veli spend the summer of 1969 travelling around Finland, mostly with another girl and her boyfriend. Sporting the latest fashions and trendy hairdos, they naïvely observe and criticise the modern consumer society, advertising, fancy boats and summer cottages, country dances, barbecues, and any other phenomena that were supposed to bother angry young intellectuals in those days. The plot and the political agenda are delivered with a cheerful, tongue-in-cheek mixture of documentary observations, fake TV commercials, fake interviews, philosophical voiceovers and titles, and a jazzy soundtrack by the progressive rock group Wigwam.

Cool Story" is the story of Think Thanks best season yet, often times hilarious, some times poignant and always a little different. From Ben Bogart's ghetto fabulous economic reality to Mark Thompson's first double cork to Chris Beresford's culinary culture shock and everything in between; "Cool Story" weaves a tale familiar to all snowboarders yet, until now, left largely untold. With full video parts from 15 of the worlds most progressive riders "Cool Story" packs a punch as both a hard hitting freestyle tour de force and an in depth look at the culture surrounding us.

Popeye's nephews practice their music, swinging out at the end. He puts them to bed with a perfunctory story; they say their prayers, finishing by blessing "all the nice people that come to see their pictures." But they're not ready to sleep, so they sneak down to their instruments. Popeye confiscates the instruments (even the piano) so he can get some sleep. The tots quickly realize that common objects in their bedroom can be used as musical instruments and they start swinging out on everything in sight. Popeye can't catch them in the act; they are always asleep when he looks in, even through the window or floorboards. He pulls his bed outside the iris-out, but they follow and he runs down the aisle of the theatre.

Is it possible for the entire world to switch to decentralized and renewable energy sources by 2030? In this inspiring documentary, we meet with German politicians, scientists, farmers, social workers, activists and visionaries who say yes, and who all push forward for a global change in climate by changing the local power supply sources to renewable energy. Director Carl-A. Fechner is not ready to give up on our planet just yet, and POWER TO CHANGE is a welcome antidote to the pessimism that defines our era's visions of the future.