A Story of Children and Film is the world's first movie about kids in global cinema. It's passionate, poetic, portrait of the adventure of childhood: its surrealism, loneliness, fun, ...
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Despite the many curious similarities between Susan Hayward and Lena Horne-both were born in Brooklyn on exactly the same day, for example-one detail set their careers on very different paths. This doc examines their parallel lives.
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Seventy 60 second single-takes, one feature film. 70 contributors who are special to The Cube joined forces to make one extraordinary feature film that helped secure the future of the building where the cinema has lived since 1998.
Filmmaker Mark Cousins goes to Albania for five days, and films what he sees. He discovers that the movie prints in the country's film archive are decaying. In investigating this, Cousins ... See full summary »
A Story of Children and Film is the world's first movie about kids in global cinema. It's passionate, poetic, portrait of the adventure of childhood: its surrealism, loneliness, fun, destructiveness and stroppiness: as seen through 53 great films from 25 countries. A story of children and film is an eye opener, a landmark film and a celebration of both childhood and the movies.Written by
I found this film tantalising, interesting and infuriating all at the same time.
At times I found myself discovering hidden gems and film which I had never ever heard of, but other times, and more often than not, I was just left frustrated by how reaching some those links from clip to clip were, how far-fetched were some of the arguments and wrong were some of the readings and basically just how random it all seemed.
It really felt as if Mark Cousins was so keen to try to include certain film clips (which he had to "fair deal" in order not to pay the copyrights, so he filled them up with pointless descriptions and analysis), that it didn't really matter whether they fitted or not: he just made them fit. Phrases like "a storm about to hit... just like adolescence" felt incredibly forced and actually quite up-their-own-self.
And of course there were HUGE oversights too. Where was Bicycle thieves? And Kolya? Stand by me? The 400 Blows? Lord of the flies? Au Revoir les Enfants? ANd the list goes on... I was also amazed to see how ET was used 3 times (obviously the moon shot, but also two other moments which were beautiful but to me didn't quite illustrate the points Cousins was trying to make) but then when Cousins talks about adults cut off from frame, making the analogy with Tom & Jerry, he fails to mention ET, which is a wonderful example of how Spielberg keeps the camera a child's level all the time and keeps the adults out of frame as if they were not allowed to enter the children's world (except the mother, who's obviously special), until the moment ET is about to die (which is the moment Elliot really grow up). Incidetally, no animations?
And finally the "family moments" were completely unrelated to the rest, despite the constant attempt to make it all relevant.
Basically it was all just very very light despite all the pretences to be deep.
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