Vf Fil

The official 2017 leader film for the Holland Animation Film Festival.

Supernana, David Grossexe, Simone Cuisse d'Acier, Jean-Yves Lafesse occupy during three nights of summer 82, with their guests, Radio Carbone locals, one of those numerous « free radio » created in France at this period.

Little fishy, are you sure you’re going in the right direction?

For fans everywhere, the 1993 World Series was a hard-fought, grind-it-out tribute to baseball - a Series as memorable as the heroes and characters who took part in it.

The Toronto Blue Jays Championship Season

Explore the public and private life of one of the 20th Century's most important Americans. The legacy of Howard Hughes is both inspirational and tragic. Gain insight into the motivations of this complex man through a rare interviews and footage.

A cascading tapestry of sight and sound, rejecting nothing, clinging to nothing, saturating and ultimately defeating the discriminating mind, until unstructured primary space begins to unfold within the viewer.

"Like STREET FILM PART ZERO, PARIS BIRTH manifests with the employment of four projectors running simultaneously with image overlap. The film opens with one projector showing the film-maker's wife walking down a Paris Street. Short bursts of film, flash frames, jumps, and the gentle flow of motion and subtle color highlights the scene. When the other projectors are switched on, shown are isolated events leading up to the birth of a child. The mystical beauty of the film cannot be ignored and the pacing of the four images afford a kind of universal intimacy into the human condition of constant flux. Ordinary events, such as walking down streets, pouring coffee, talking on the telephone become extraordinary on the level of recognition of the regenerative process going on inside and outside the viewer."—Susan Headley

“For Black and White Film, Huot created his own photographic imagery for the first time. After a few moments of darkness, a young woman (Sheila Raj) lowers a covering of some kind, slowly revealing her naked body. She reaches outside the circle of light, which illuminates only her silvery form, scoops up dark paint, and, beginning with her feet, gradually paints her entire body. When she has become invisible except for the faint sheen of the paint, she drops her arms, looks straight ahead, and the film fades to total darkness. The serenity of the film, which is structurally reflected by Huot’s presentation of the action from a single position in a single take, its sensuality, and the aura of ritual it creates (Raj always moves in a formal way and, except when she needs to look for the paint, looks modestly down) make Black and White Film a quietly haunting work.”—Scott MacDonald, “The Films of Robert Huot: 1967 to 1972”, Quarterly Review of Film Studies, Summer 1980.

For the City that Never Sleeps when she awakens from her long slumber. ❤

This interview, made in January 1995, is an attempt to examine the universal messages offered by 'Decalogue', as well as it's idiosyncrasies

The year is coming to an end and Christmas is imminent. But it is the blackest day of the year for Hartz VIII recipient Edith Schröder (Ades Zabel), Leggingsladen owner Biggy (Biggy van Blond) and Kiezwirtin Jutta Hartmann (Bob Schneider), because they have no family to celebrate with them - not to mention children! But this time everything should be different: end with the solitude, the microwave dishes, war films and men's stripshows.Instead, the girlfriends simply want to celebrate together at Edith's home, with a delicious roast goose and a lot of cheap luscious liquor. It does not matter, that the hostess can not cook a bit. But when Edith and Biggy get almost a life-long house ban on the purchase of gifts, the contemplative mood threatens to tilt ...

Special agent Michael Burrell attempts to stop an enemy from his past from exposing him and releasing information that could destroy his friendship and the world.

A late-night television show, 'Films that Sing' analyses the life and filmography of a critically acclaimed young filmmaker, Luciano Broccolini, after his tragic passing.

In this joyful portrait, filmmaker Ann Marie Fleming animates the formative days and musical career of Calgary-born identical twins Tegan and Sara Quin. Their remarkable journey over the past 20 years has often intersected with notions of identity—as artists, as individuals, as sisters, as queer women, and as leading activists in the LGBTQ community. Their musical progression parallels and amplifies their commitment to bringing the marginal to the mainstream.