Κυνήγι θησαυρού

Είδος: Ντοκιμαντέρ

Γλώσσα: Ελληνικά

Υπότιτλοι: -

Χρονολογία: 2007 , GR

Σκηνοθεσία: Συλλογική προσπάθεια

Διάρκεια: 99'

Μπορείτε να το κατεβάσετε από εδώ: http://www.black-tracker.gr/details.php?id=245

“Θησαυρός” είναι η μνήμη, η συλλογικότητα, το πάθος, η δύναμη και η αξιοπρέπεια των γυναικών και αντρών κάθε ηλικίας, που με τους αγώνες τους εμπλουτίζουν αυτή τη στρογγυλή γή. “Θησαυρός” είναι η αντίσταση σε αυτό το παράλογο σύστημα, που υποβαθμίζει οικτρά τον πλανήτη και τις ζωές όσων τον κατοικούμε. Κομμάτι του “θησαυρού” συνεπώς, οι αγώνες των κατοίκων της Β. Χαλκιδικής. Η “Μεγάλη απεργία” των μεταλλωρύχων το 77 ενάντια στις απάνθρωπες συνθήκες εργασίας. Η δυναμική και νικηφόρα αντίσταση των κατοίκων της Ολυμπιάδας ενάντια στον παραλογισμό της μεταλλουργίας χρυσού και στην καταστροφή του τόπου τους. Η εναντίωση στα τωρινά σχέδια της εταιρία “Ελληνικός Χρυσός” στις Σκουριές. “Θησαυρός” είναι η μνήμη, η συλλογικότητα, το πάθος, η δύναμη και η αξιοπρέπεια των γυναικών και αντρών κάθε ηλικίας, που με τους αγώνες τους εμπλουτίζουν αυτή τη στρογγυλή γή. “Θησαυρός” είναι η αντίσταση σε αυτό το παράλογο σύστημα, που υποβαθμίζει οικτρά τον πλανήτη και τις ζωές όσων τον κατοικούμε. Κομμάτι του “θησαυρού” συνεπώς, οι αγώνες των κατοίκων της Β. Χαλκιδικής. Η “Μεγάλη απεργία” των μεταλλωρύχων το 77 ενάντια στις απάνθρωπες συνθήκες εργασίας. Η δυναμική και νικηφόρα αντίσταση των κατοίκων της Ολυμπιάδας ενάντια στον παραλογισμό της μ...all »

“Θησαυρός” είναι η μνήμη, η συλλογικότητα, το πάθος, η δύναμη και η αξιοπρέπεια των γυναικών και αντρών κάθε ηλικίας, που με τους αγώνες τους εμπλουτίζουν αυτή τη στρογγυλή γη. “Θησαυρός” είναι η αντίσταση σε αυτό το παράλογο σύστημα, που υποβαθμίζει οικτρά τον πλανήτη και τις ζωές όσων τον κατοικούμε. Κομμάτι του “θησαυρού” συνεπώς, οι αγώνες των κατοίκων της Β. Χαλκιδικής. Η “Μεγάλη απεργία” των μεταλλωρύχων το 77 ενάντια στις απάνθρωπες συνθήκες εργασίας. Η δυναμική και νικηφόρα αντίσταση των κατοίκων της Ολυμπιάδας ενάντια στον παραλογισμό της μεταλλουργίας χρυσού και στην καταστροφή του τόπου τους. Η εναντίωση στα τωρινά σχέδια της εταιρία “Ελληνικός Χρυσός” στις Σκουριές.

Η φωτογραφία είναι από το ΠΑΡΑΤΗΡΗΤΗΡΙΟ ΜΕΤΑΛΛΕΥΤΙΚΩΝ ΔΡΑΣΤΗΡΙΟΤΗΤΩΝ
 

The Take (Απαλλοτρίωση)

Είδος: Ντοκιμαντέρ

Γλώσσα: Ισπανικά, Αγγλικά

Υπότιτλοι: Αγγλικά

Χρονολογία: 2004 ,Argentina/Canada

Σκηνοθεσία: Avi Lewis

Διάρκεια: 84'

http://www.imdb.com/title/tt0426596/


From the site of the documentary (http://thetake.org/index.cfm?page_name=synopsis)

In suburban Buenos Aires, thirty unemployed auto-parts workers walk into their idle factory, roll out sleeping mats and refuse to leave. All they want is to re-start the silent machines. But this simple act - The Take - has the power to turn the globalization debate on its head. In the wake of Argentina's dramatic economic collapse in 2001, Latin America's most prosperous middle class finds itself in a ghost town of abandoned factories and mass unemployment. The Forja auto plant lies dormant until its former employees take action. They're part of a daring new movement of workers who are occupying bankrupt businesses and creating jobs in the ruins of the failed system. But Freddy, the president of the new worker's co-operative, and Lalo, the political powerhouse from the Movement of Recovered Companies, know that their success is far from secure. Like every workplace occupation, they have to run the gauntlet of courts, cops and politicians who can either give their project legal protection or violently evict them from the factory. The story of the workers' struggle is set against the dramatic backdrop of a crucial presidential election in Argentina, in which the architect of the economic collapse, Carlos Menem, is the front-runner. His cronies, the former owners, are circling: if he wins, they'll take back the companies that the movement has worked so hard to revive. Armed only with slingshots and an abiding faith in shop-floor democracy, the workers face off against the bosses, bankers and a whole system that sees their beloved factories as nothing more than scrap metal for sale. With The Take, director Avi Lewis, one of Canada's most outspoken journalists, and writer Naomi Klein, author of the international bestseller No Logo, champion a radical economic manifesto for the 21st century. But what shines through in the film is the simple drama of workers' lives and their struggle: the demand for dignity and the searing injustice of dignity denied.

Collapse

Είδος: Ντοκιμαντέρ

Γλώσσα: Αγγλικά

Υπότιτλοι: Ελληνικά

Χρονολογία: 2009 , USA

Σκηνοθεσία: Chris Smith

Διάρκεια: 80'

http://www.imdb.com/title/tt1503769/

Collapse (film) wikipedia

Michael Ruppert wikipedia

Whether Michael Ruppert is a madman or a prophet, I do not know. What I do know is that all of his suppositions are based on the hardest and most chilling of facts. You will recall your teachings on Cassandra and the famous Cassandra Complex, whereby a person who bears valid warnings and terrible foresight is doomed to watch it happen. They are helpless to stop it because no one will listen to them. Meet Cassandra.

Collapse is an amazing documentary that works on several levels. We'll start with the first: Ruppert's analysis of the world around us is stunningly bleak. Our entire civilization is based on oil. This is fact. All transportation requires oil in some form. All manufacturing (and civilization as we know it) is based on energy, which is finite, and requires some oil in some form. Building the resources to harvest ANY energy source requires manufacturing and transportation, which requires oil. Cultivating food requires energy to produce and transportation to get to your grocery store or home. Even if we discover some new energy source - algae, for example, which is not addressed in the film - all the components needed to harvest or utilize that energy are oil-based. Even if we invent cars without tires (which require 8+ barrels of oil to make, PER TIRE), the plastics and metals and components in those vehicles all require oil as either a direct ingredient or as an indirect part of the manufacturing.

Now imagine a world without oil. See where this is going?

This film, and Ruppert, go much further than that. Oil dependency is just the appetizer. Then we get to Peak Oil (or the Hubbert Peak). Then an economy based on floated, imaginary, (fiat) money. And so on. Ruppert builds his case with hysterically grim anecdotes and considerable authenticity. It's difficult to disagree with him precisely because he doesn't allow 'theory' or partisan/ideological opinion to seep into the discussion. The facts are accurate. The conclusions... are up to you.

Let's talk about the film-making itself: Chris Smith's film is shot 'bunker-style' for effect. It works. There are hardly any miscues in the technical aspects, and the editing style is absolutely riveting and never boring. As pure entertainment, if we can call it that, this film will absolutely command your attention for 80 minutes. The film does not subscribe - one way or another - to Ruppert. It just shows him as he is and allows you to draw your own conclusions. Right or wrong, Ruppert's quest to seek this knowledge and tell it to the world has subtly destroyed him. Collapse works on an intensely personal level, too. This film burns itself into the mind. It's point blank brilliant.

Others have noted a major flaw in Ruppert's arguments, including the filmmaker himself: Ruppert does not allow for miracles or human ingenuity in his apocalyptic scenarios. Ruppert has already decided we've passed the point of no return and is now looking to "build the lifeboat on the Titanic". When confronted about this directly, Ruppert's non-answer more or less says that he won't trust his fellow humans to think a way out of this. Ruppert has so expertly identified the problems, but he has no answers. All his "hope" is directed at ways to survive what's to come. Again, right or wrong, this man absolutely believes what he's saying and is absolutely terrified. You should be, too.

What's the way out? Well, I personally choose to believe the first part of Ruppert's argument and disregard the second. We are in trouble. But I choose to have faith in my fellow man, that we can "fix the Titanic" before it's too late. In the meantime, you must see this film. See it, soak it in, let it shake you, and tell your friends. Draw your own conclusions. Ruppert's role is to sound the warning. Perhaps if enough people see this film, someone out there will figure out what to do. 

Author: Savant-2 from United States

Ο Άνθρωπος που Ενόχλησε το Σύμπαν

Είδος: Ντοκιμαντέρ

Γλώσσα: Ελληνικά

Υπότιτλοι: Ελληνικά

Χρονολογία: 2000, GR

Σκηνοθεσία: Σταύρος Ψυλλάκης

Διάρκεια: 52'

 http://www.black-tracker.gr/details.php?id=375

 

Ψυχιατρείο Χανίων. Μια ομάδα ασθενών μας φιλοξενεί στην «Εκκλησία του Δήμου», το χώρο που καθημερινά συναλλάσσονται και συνομιλούν, εκεί που άλλος ζητάει κατοστάρικο κι άλλος ζητάει λόγο. Το χώρο που καθημερινά διαχειρίζονται την ομορφιά τους και τη σχέση τους καλά. Μια άλλη ομάδα, πρώην χρόνιων, ασθενών, εκτός Ψυχιατρείου πλέον, βιώνει μια επίπονη διαδικασία κοινωνικής επανένταξης και αποτολμά, στο πλαίσιο διεθνών ανταλλαγών, ένα εβδομαδιαίο ταξίδι στη Δανία. Η ταινία, μέσα από τον παράλληλο λογο των δυο ομάδων, προσπαθεί ν' ακούσει το λόγο της τρέλας, κάτω από το χαώδες παραλήρημά της, κρούστα μιας βαθιάς θάλασσας. Προσπαθεί να δει τη δραματική σύγκρουση του ανθρώπου με την τρέλα, στη βαθύτατη απόγνωση και απόλυτη αμφιβολία για κάθε όψη του είναι που εμπεριέχει.

«Αν τη ζωή μας κυκλώνει ο θάνατος, τη διανοητική μας υγεία γυροφέρνει η παραφροσύνη».

Στην τρέλα ο άνθρωπος νοιώθει πώς δεν έχει να επιστρέψει πουθενά. Δεν είναι πια. Ήταν.

Der Lauf der Dinge (The Way Things Go)

Είδος: Ντοκιμαντέρ

Γλώσσα: -

Υπότιτλοι: -

Χρονολογία: 1987 ,Swiss

Σκηνοθεσία: Peter Fischli, David Weiss

Διάρκεια: 43'

http://www.imdb.com/title/tt0094300/

http://en.wikipedia.org/wiki/The_Way_Things_Go

From Wikipedia, the free encyclopedia

 The Way Things Go (German: Der Lauf der Dinge) is a 1987 art film by the Swiss artist duo Peter Fischli and David Weiss. It documents a long causal chain assembled of everyday objects, resembling a Rube Goldberg machine.

The machine is in a warehouse, about 100 feet long, and incorporates materials such as tires, trash bags, ladders, soap, oil drums, and gasoline. Fire and pyrotechnics are used as chemical triggers. The film is nearly 29 minutes, 45 seconds long, but some of that is waiting for something to burn, or slowly slide down a ramp.

The film evolved out of work the artists did on their earlier photography series, "Quiet afternoon," (German: Stiller Nachmittag) of 1984-1985. As the delicately unstable assemblages they constructed for the photos were apt to almost immediately collapse, they decided that they wanted to make use of this energy.^[1] The film may also have been inspired by the video work of fellow Swiss artist, Roman Signer. The artists undoubtably saw his video work which was exhibited at the Kunsthaus Zürich in 1981.^[2] Signer's videos often document objects performing simple actions that are the result of physical phenomena

 

The Pervert's Guide to Cinema

Είδος: Ντοκιμαντέρ

Γλώσσα: Αγγλικά

Υπότιτλοι: Spanish

Χρονολογία: 2006 ,US

Σκηνοθεσία: Sophie Fiennes

Διάρκεια: 150'

 http://www.imdb.com/title/tt0828154/ 

THE PERVERT'S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT'S GUIDE TO CINEMA cuts its cloth from the very world of the movies it discusses; by shooting at original locations and from replica sets it creates the uncanny illusion that Zizek is speaking from 'within' the films themselves. Together the three parts construct a compelling dialectic of ideas. Described by The Times in London as 'the woman helming this Freudian inquest,' director Sophie Fiennes' collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate complex ideas. Says Zizek: 'My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. THE PERVERT'S GUIDE TO CINEMA is really about what psychoanalysis can tell us about cinema.' Written by P Guide Ltd.

Famous movies are subject to Freudian analysis: Possessed, The Matrix, The Birds, Psycho, Vertigo, Duck Soup, Monkey Business, The Exorcist, The Testament of Dr Mabuse, Alien, Alien Resurrection, The Great Dictator, City Lights, The Tramp, Alice in Wonderland, The Wizard of Oz, Dr Strangelove, The Red Shoes, Fight Club, Dead of Night, The Conversation, Blue Velvet, Solaris, Stalker, Mulholland Drive, Lost Highway, Persona, In The Cut, Eyes Wide Shut, The Piano Teacher, Three Colours: Blue, Dogville, Frankenstein, The Ten Commandments, Saboteur, Rear Window, To Catch a Thief, North by Northwest, Star Wars, Dune, Kubanskie Kazaki, Ivan The Terrible, Pluto's Judgment Day (Walt Disney), Wild at Heart.

Rebellion: The Litvinenko Case / Bunt. Delo Litvinenko

Είδος: Ντοκιμαντέρ

Γλώσσα: Ρωσικά

Υπότιτλοι: English

Χρονολογία: 2007 , Russia

Σκηνοθεσία: Andrei Nekrasov

Διάρκεια: 105'

http://www.imdb.com/title/tt1038914/

The secret war between Russian dissidents and FSB, the successor agency of the KGB, splashed into the worlds front pages last November when Alexander (Sasha) Litvinenko died in London poisoned by radioactive Polonium-210, which was slipped into his tea during a meeting with two visitors from Moscow. In his new documentary, Litvinenko's friend Andrei Nekrasov tells the story of the former FSB officer - from his initial rebellion against corruption in his agency, through his imprisonment and escape from Russia, to his crusade against his former employers to his eventual assassination. In a series of revealing interviews with the main protagonists of the Litvinenko case, including his friends, his alleged killers, his widow and Sasha himself, the film recreates a world of intrigue, high-stake politics, love, loyalty and betrayal, which is more intricate and breathtaking than any fiction could be. 

A fascinating piece, both in its contents and cinematic form. Editing is particularly strong, given the nature of the access which became impossible the moment the world started to pay attention. Nekrasov had been interested in Litvinenko before the latter's tragic fame but this film was apparently put together only after the poisoning. I've seen some other pics on the subject but none came anywhere near creating this unsettling sensation of being in the middle of it all. That is partly because of the director's on screen interaction with Litvinenko, which allowed me to identify with the narrator and made Litvinenko more credible (half of the Russians think he was a criminal, going by the official propaganda). I lived in Russia and Ukraine but somehow watching "Rebellion..." in Toronto really shocked, frightened and angered me forcing to redefine the term "corrution" in my mind. In some parts of the world corruption evidently means murder. "Rebellion" is structured like a novel, divided in chapters, and it masterfully controls various lines of the complex plot; but ultimately it is not a murder story and those who expect one might be disappointed. I admit I had myself wondered why a "Litvinenko movie" should be called "Rebellion", but having watched it I cannot think of a more appropriate title. 

Author: cinefan73 from Italy