Mount Alishan is the most well known tourist attraction in Taiwan.The Tsou, indigenous people living in Alishan area, however, are hardly understood by the general public in Taiwan. The filmmaker began shooting this film in early 1993 and was fully supported by the two chiefs and their fellow tribespeople. The final version of this film was completed almost ten years after the shooting commenced. Many Tsou elders who appeared in this film have passed away. The film is a epitaph to their lives.
The Paiwan Aboriginal people live in the mountains of southern Taiwan. Flutes of various designs are used as part of the courting ritual and also for the courting ritual and also for the expression of sorrow and longing for people dead or far away. “Sounds of Love and Sorrow ” lets the Paiwan flutes, including the nose flute, which legends say imitates the call of the deadly hundred-pacer snake, mix in with the recollections of tribal elders to present a rich portrait of Paiwan life.
This Oscar winner from Beverly Shaffer opens by exposing some of the working practices of the documentary filmmaking and swiftly turns into a lovingly wrought portrait of a nine-year-old girl, Nadia, who has spina bifida, a condition that has left her with no sensation from the knees down. As a small child, Nadia was required to walk using a walking frame, which she teasingly refers to as ‘the robot’ when looking at the family photo album.This film has a wistful quality, which soars with spirit of its leading lady-frank,full of vitality and wit.
Renowned filmmaker Trinh, T. Minh-ha’s first foray into digital video is a compelling and exciting work as it sets out to examine Japan as represented by its art, culture and social rituals. Like her previous films, The Fourth Dimension is a complex work, addressing a myriad of issues-the experience of time, the impossibility of showing ‘the real’ and the effect of video on image composition. Constructed as a seamless mediation on time, travel and ceremony, a dialogue on the relationship between ritual and the past and present begins to emerge.
In this diaristic portrait of Cindy Sherman and her working methods, Auder observes the artist as the artist as she creates her staged photographs. Over the course of several years, we watch Sherman as she transforms herself for the camera through costuming, make-up, and props.Without employing interviews or commentary other than an ambient soundtrack of pop tunes, Auder records Sherman with an offhand intimacy, allowing her working process to unfold in front of his camera.
A coproduction with Israel, Czech, Hungarian, Danish, and Slovakian television, the film is based on two of Eichmann’s secret diaries, one of which he wrote when he was in prison in Israel(and never released until it became evidence in the Irving-Lipstadt trial), and the second the Sassen documents, which are 64 tapes Eichmann recorded in 1957 in Buenos Aires with Willem Sassen, a dutch Fascist journalist. Rosenthal plays off one diary against the other in the film, and attempts to understand what motivated this man(in Rosenthal’s words,”just bloody hatred and anti-Semitism”).