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- This prison camp drama by director and co-scripter Armand Gatti, his first film, reflects the early '60s resurgence of interest in the crimes against humanity committed by the Nazis in World War II. (In another year, the Adolph Eichmann trial would be the first ever seen live on American television.) Gatti focuses on two men in a German concentration camp who have been cruelly penned inside an enclosure. One of the men, Karl (Herbert Wochinz), is a strong, bitter anti-Nazi German -- a target of the Gestapo. The SS wants information on a rumored organization of resistance fighters inside the prison and they know he has it. The other man, David (Jean Negroni) is a Jew. If one of the men dies within a certain time then the other will be released. He will not be killed. Otherwise, both will be executed. The resistance fighters in the prison try to help the two as best they can, while the pair inside the enclosure slowly come to know each other as though they were brothers. ~ Eleanor Mannikka, All Movie Guide
- The dictator Anastasio rules with an iron fist backed by business-men making deals and speeches about building canals, completely disconnected from the chaos amongst the population. Anastasio is rumored to have died after an incident with a mirror and a violent confrontation after literally crowing as a cock amongst his chicken followers. The afterlife is shown as a casino where Anastasio strong-arms his way into heaven. Divination is used to find the next dictator, and a sailor and his black, peasant sidekick find themselves attempting to start a revolution with an organ, dragging it through the countryside, as the movie explores the country, culture and music. They attempt to trade with a flattened poster of a traditional family woman as well as a younger shrew, and encounter innocence in the form of a virgin. The war escalates into mythical proportions between heaven and hell in astonishing surreal sets involving dinosaur bones, stagy cages, huge pinball games and a bullfighting show, as well as rich countryside shots of a peasant uprising. Bombs fall from heaven and storms are brought about by a dictator in a bull costume using a fire-hose. An inexplicably obscure, surreal French-Cuban production on the Cuban revolution that predates Jodorowsky with its delirious and bizarre visuals. Filmed by Armand Gatti, a playwright with ties to Monaco and France who worked with Chris Marker and was imprisoned in a camp during WWII for anti-fascist activities. This is a satire with free-form surrealism, symbolism and absurdities.
- Mixed with excerpts of Vincent Colin's play 'Petit Nord Cherche Grand Sud', the film confronts the theatrical mythology with the reality on the ground experienced on a daily basis by the current inhabitants of Ushuaia and its surroundings.
- The events of the Troubles are everyday happenings for the young people of the Derry Community Workshop, an alternative school for learning manual trades, which has the specificity of welcoming Protestants and Catholics.The lessons and debates are sometimes chaotic but always constructive.One day an English soldier is killed and the security forces suspect the Workshop.
- Portrait of the anarchist Nestor Makhno who initiated the first self-managed libertarian communes in Ukraine, the free soviets.
- This documentary is built around interviews with Armand Gatti given at the 1982 Avignon Festival (where Gatti presented his film"Nous étions tous des noms d'arbres" and his play "Le Labyrinthe"), extracts from the film, images from the shooting and news footage. This film relates the context in which "Nous étions tous des noms d'arbres" was made and explains the impact of current events on the script.
- We see people who, together, are looking for something. What they are looking for, they aren't quite sure. But they know that it is important. And not only for themselves, but also for others, somewhere else in other places. This thing, they are tempted to name it. But for the moment, the important thing is to first make it exist, between themselves. For that purpose, they decided to make a movie based on a play, The Tempest by Shakespeare. They could have done something else, but they decided to do this. So what they are showing, is them playing Shakespeare and talking about what performing Shakespeare in Aulnay-sous-Bois means to them. And meanwhile, something starts appearing. Invisible to itself, but obvious in the tone of voices, the tension of bodies, and in their way of being together.
- Buta, southern Burundi. A school, scene of a massacre during the war between Hutus and Tutsis, once more welcomes students of both ethnic groups. These students begin the task of remembering, turning a scene of horror into a scene of enlightenment. In this rerun, Magume represents the task of shattered Burundi. The students offer their voices, their questions, their tales and their identity in the hope that this mask will once more take shape, reconciled with itself at last.