Ozu & Noda

The Los Angeles Times Critics' Pick Something’s Gonna Live is an intimate portrait of life, death, friendship and the movies, as recalled by some of Hollywood's greatest cinema artists. Academy Award®-nominated director Daniel Raim (The Man on Lincoln’s Nose), captures the late life coming together of renowned art directors Robert Boyle (North by Northwest, The Birds), Henry Bumstead (To Kill a Mockingbird, The Sting) and Albert Nozaki (The War of the Worlds, The Ten Commandments), storyboard illustrator Harold Michelson (The Graduate, Star Trek: The Motion Picture), and master cinematographers Haskell Wexler (Who’s Afraid of Virginia Woolf?, Medium Cool) and Conrad Hall (In Cold Blood, Butch Cassidy and the Sundance Kid). These prolific artists have worked on a total of 400 films, garnering 25 Academy Award® nominations and 8 wins.

Short film built from photographs, sped up like a traditional stop motion and is meant to be an evocation of the English Eerie and Folk Horror.

8mm film by Swiss artist Roman Signer.

In the search for reconciliation with his past, Sami ends up in a small town where he meets Kim. They both meet the local gangster The Old Man who runs a seemingly sophisticated methamphetamine empire together with his two sons Conny and Kenneth. At first, everything is peace and joy, but when drugs start circulating in the town without Gubben's permission, attention is drawn to the newcomer Sami, who realizes that he is in a dangerous situation. To stay alive, he must quickly make a plan.

In October 1925, due to a depression in the textile industry a 10 percent wage cut was imposed by mill owners. The strike that followed went for thirteen months and was vigorously and violently opposed by mill owners and police authorities. This was not an uncommon consequence of striking, and strikers were often fired upon throughout the early Twentieth Century by both police forces and the National Guard as was demonstrated in the modern section of D.W. Griffith's INTOLERANCE (1916) and many other films of the time. THE PASSAIC TEXTILE STRIKE was made by the strikers' Relief Committee to not only show what was happening on the picket lines but to also provide much needed funds for the relief of strikers and their families.

A parody based on M. Night Shyamalan's The Visit from 2015

Edinburgh and its people in 26 letters and 13 numbers: About spreading love and kindness and baking pancakes.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

With this movie, Aurélien Gerbault invites us to know the portuguese filmmaker Pedro Costa and to witness the process of shooting of his movie Colossal Youth (2006). The nature of Costa's cinema is revealed to us: the criation of an intimate space in the hardness of reality.

A family of a father, a mother and their son is looking forward to go on vacation. On the way they experience an accident, and their lives are suddenly and unexpectedly turned upside down.

An anonymous love letter left in Carli's locker wreaks havoc on his life, and the lives of everyone who come in contact with it.

A couple travel to a remote cabin in Montana where an encounter with an overbearing neighbor leads to a terrifying ordeal.

The dreaded slave hunter Abu el Mot attacks the caravan and abducts the travelers, including Kara Ben Nemsi, his faithful companion Hadschi Halef Omar, the quirky scholar Ignaz Pfotenhauer and the English explorer Sir David Lindsay. Kara Ben Nemsi manages to escape with Hadschi Halef. To get help, they set off on a long journey full of impassable adventures...

When Clown Ferdinand enters an abandoned city in his wagon he ends up on a space rocket where he meets a robot that can turn invisible. This film reuses sets from Polák's Ikarie XB 1 (1963).