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In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.
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Godard by Godard
Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.
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Image Makers: The Adventures of America's Pioneer Cinematographers
Documentary following the history of America's first cinematographers.
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Cameraperson
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Christopher Doyle: Filming in the Neon World
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Since the invention of cinema, the standard format for recording moving images has been film. Over the past two decades, a new form of digital filmmaking has emerged, creating a groundbreaking evolution in the medium. Keanu Reeves explores the development of cinema and the impact of digital filmmaking via in-depth interviews with Hollywood masters, such as James Cameron, David Fincher, David Lynch, Christopher Nolan, Martin Scorsese, George Lucas, Steven Soderbergh, and many more.
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One Day in the Life of Andrei Arsenevich
Chris Marker’s portrait of Russian filmmaker Andrei Tarkovsky documents the director at work on his final film, The Sacrifice, during the last year of his life. Interweaving behind-the-scenes footage with excerpts from Tarkovsky’s earlier works, Marker crafts a moving reflection on the artist’s vision, methods, and enduring legacy.
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¿Quién diablos es Juliette?
Filmed from 1995 to 1997 in Havana, New York, Los Angeles, Morelia and Mexico City, it tells the story of Yuliet, a Cuban teenager, and Fabiola Quiroz, a Mexican model, who, with humor and frankness, surrounded by quirky supporting characters, show us that the absence of their parents, deprivation and adversity made them stronger.
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The Magic of Méliès
A walk through the life and work of the brilliant French filmmaker Georges Méliès (1861-1938), pioneer of special and visual effects.
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Visions of Light
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.
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Peter Hutton's New York trilogy. An act of urban archaeology, a chronicle of indelible impressions of the city.
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Dream
In the spring and summer of 1977, the musical television film "Miracle Story" was filmed on Toomemäe in Tartu. Despite the fact that all the shots in the film are documentary, you may not see a documentary in "Dream". It is not a reportage about making a film, but rather a vision, an echo that has disappeared but has been.
1978