Voirfilm Black

Black Sabbath at Bank One Ballpark, Phoenix, AZ, USA After Forever Into the Void Snowblind War Pigs N.I.B. Fairies Wear Boots Killing Yourself to Live Electric Funeral Sabbath Bloody Sabbath Lord of This World Black Sabbath Sweet Leaf Symptom of the Universe Supernaut Drum Solo Iron Man Children of the Grave Paranoid

Black Sabbath at Sporthallen, Umea, Sweden Ave Satani Children of the Grave The Shining The Wizard Kiss of Death Headless Cross Guitar Solo Rusty Angels Bass Solo When Death Calls Sabbath Bloody Sabbath Can't Get Close Enough War Pigs Drum Solo The Mob Rules Black Sabbath Heaven and Hell Iron Man Paranoid

Contemporary blaxploitation film about the parallels between the predator-prey relationship of a black man facing the prejudicial bounds of society. The embodiment of the black fish takes the shape of the black man who is vulnerable to being fed on by society. He reflects the underlying qualities, while showing that the integrity of his dispositions reveals much more.

From the first line, “I feel like I’m on fire,” Mikel Aki’leh Jones delivers a powerful poem on beauty and blackness. Against a rhythmic score, Aki’leh enumerates the ways in which she’s been told that her black skin is “a sign of dirt” to others -and how she ultimately finds strength and confidence through her faith.

When a glamour photographer runs over a child's pet, he's forced to fabricate a story about its disappearance.

The Spider is a terrifying creature who invades the castle, imprisons the king, and disguises himself in his clothes so he can pursue his designs upon the king's fair daughter.

Brownsville Black and White is the story of sixty years of Black/Jewish relations in the Brooklyn Community of Brownsville. The film is a poignant examination of group cooperation, urban change and social conflict as told through the personal histories of those who lived there. Brownsville is the first of two films dealing with inter-ethnic relations in the U.S., left unfinished after the untimely death of the director Richard Broadman. A small group of friends and colleagues completed the film after his death.

This project is an approach of - Digital Visual Music - in linear process, intersecting the aesthetics of new media art and post-minimal composition, as well as experimenting with the bounds of static and moving imagery next to the music in slow motion. The visuals were developed by the transformation and multiplication of a single video signal through digital post-production, resulting into an abstract black & white video synthesis.

This project is an approach of - Digital Visual Music - in linear process, intersecting the aesthetics of new media art and post-minimal composition, as well as experimenting with the bounds of static and moving imagery next to the music in slow motion. The visuals were developed by the transformation and multiplication of a single video signal through digital post-production, resulting into an abstract black & white video synthesis.

Wade in the Water: A Journey into Black Surfing and Aquatic Culture (2023) reclaims the 1,000-year-old tradition of Black surfing. Braiding historical accounts with modern-day testimonials, the film dismantles the racial barriers of conventional surf culture, delves into the overlooked history of Black surfing's legacy, and honors its current movement—inspiring the next generation of Black surfers.

In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.

This engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste #10 (March 1966). Along with additional commentary adapted from Barbara Kruger and musicians Morrissey and Skinny Puppy, the text posits rioting as a refusal to participate in the logic of capital and an attempt to de-fetishize the commodity through theft and gift. Cokes asks, “How do people make history under conditions pre-established to dissuade them from intervening in it?”

Tony Iommi (guitars), Tony Martin (vocals), Neil Murray (bass), Cozy Powell (drums), Geoff Nicholls (keyboards) Headless Cross -- Neon Knights -- Children of the Sea -- Iron Man -- Children Of The Grave -- When Death Calls -- War Pigs -- Die Young -- Heaven And Hell -- Apache -- Paranoid Recorded at Moscow Olympic Hall, November 19, 1989

The entire 60 minute, 11.5 mile tram journey from Starr Gate to Fleetwood, filmed from the top deck of open top Streamliner 706 'Princess Alice' on a fine sunny day. This non-stop journey passes all the points of interest along the prom in Blackpool and through to Fleetwood. See numerous other trams pass by as we work our way north.

Wee Georgie Wood and his gang have their sights set on a notorious villain.

A film by John Baldessari

Documentary by Eckhart Schmidt.

Distorted found footage experiment of a firing squad sequence from a war film.

This short film tells the story of Bo, a boy who has recently committed suicide, and Samuel, his former best friend. After having an argument that they never reconciled, Bo is thrust back into existence and wanders into a strange house. Samuel is inside.

This feature documentary gives voice to the Creole people from Nicaragua and Costa Rica who have lived in resistance to colonialism, and now struggle to maintain their identity. Through multiple testimonies, we learn about how Black people came to the Caribbean and how Creole culture was formed in the region. These are stories of everyday life that reflect the cultural distinctions and traditions of different communities, their worldviews, memories, dreams, identities and the challenges they faced – yesterday and today.