Watch Jean Reno: The Road to 'Léon' (2005) Online Free

Freeing “Trapped”

Film noir expert Eddie Muller and others discuss the classic film Trapped.

2019

Two Letters for Ana

A medium-length film that takes the central place in the video installation "The Lady of Corinth". In both the medium-length film and the installation, Guerin delves into the relationship between cinema and painting based on Pliny the Elder's account of the invention of painting.

2011

Looking Back to the Future

A 9-part retrospective documentary from 2009 on the trilogy’s legacy.

2009

Bringing Godzilla Down to Size: The Art of Japanese Special Effects

A look at the unrecognized work of the talented artists and craftsmen who've maintained the tradition of Japanese special-effects. Highlighted is Yasuyuki Inoue along with various crew members who crafted meticulously detailed miniatures and risked life and limb as suit actors. All done to bring to life some of film's most iconic monsters through a distinct Japanese artform.

2008

Gula

2008

Roving Mars

Join the Mars rovers Spirit and Opportunity for an awe-inspiring journey to the surface of the mysterious red planet.

2006

'Clerks' 10th Anniversary Q&A

A question-and-answer session featuring the director, producer, and stars of the indie comedy hit "Clerks".

2004

The Living Sea

The Living Sea celebrates the beauty and power of the ocean as it explores our relationship with this complex and fragile environment. Using beautiful images of unspoiled healthy waters, The Living Sea offers hope for recovery engendered by productive scientific efforts. Oceanographers studying humpback whales, jellyfish, and deep-sea life show us that the more we understand the ocean and its inhabitants, the more we will know how to protect them. The film also highlights the Central Pacific islands of Palau, one of the most spectacular underwater habitats in the world, to show the beauty and potential of a healthy ocean.

1995

New York Portrait, Chapter III

"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)

1990

Chronos

Carefully picked scenes of nature and civilization are viewed at high speed using time-lapse cinematography in an effort to demonstrate the history of various regions.

1985

New York Portrait, Chapter II

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.

1981

Railway Station

Warsaw's Central Railway Station. 'Someone has fallen asleep, someone's waiting for somebody else. Maybe they'll come, maybe they won't. The film is about people looking for something.

1980

Clouds

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

1969

Film-Tract n° 1968

In the 1968 movement in Paris, Jean-Luc Godard made a 16mm, 3-minute long film, Film-tract No.1968, Le Rouge, in collaboration with French artist Gérard Fromanger. Starting with the shot identifying its title written in red paint on the Le Monde for 31 July 1968, the film shows the process of making Fromanger’s poster image, which is thick red paint flows over a tri-color French flag. —Hye Young Min

1968

1/57: Experiment with Synthetic Sound (Test)

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

1957

We Live in Prague

A 13-minute documentary film depicting life in Prague.

1934

How the Telephone Talks

"All sounds travel in waves much the same as ripples in water." Educational film produced by Bray Studios New York, which was the dominant animation studio based in the United States in the years surrounding World War I.

1919

Performing Animals; or, Skipping Dogs

A short black-and-white silent documentary film featuring one dog jumping through hoops and another dancing in a costume, which was considered lost until footage from an 1896 Fairground Programme was identified as being from this film.

1895

Carmencita

The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890.

1894

Roundhay Garden Scene

The earliest surviving motion-picture film, and believed to be one of the very first moving images ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken on paper-based photographic film in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), on 14 October 1888. The film shows Adolphe Le Prince (Le Prince’s son), Mrs. Sarah Whitley (Le Prince’s mother-in-law), Joseph Whitley, and Miss Harriet Hartley walking around in circles, laughing to themselves, and staying within the area framed by the camera. Roundhay Garden Scene is often associated with a recording speed of around 12 frames per second and runs for about 2 to 3 seconds.

1888