A Hand Shake

In this 2010 visual essay, Chaplin historian Jeffrey Vance, author of “Chaplin: Genius of the Cinema,” draws from a wealth of production photography to discuss the making of MODERN TIMES.

The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890.

A love letter to film history, Sickies Making Films looks at our urge to censor movies and asks, Why? By focusing on the Maryland Board of Censors, the nation's longest lasting censor board, we discover reasons both absurd and surprisingly understandable.

No known plot

The film begins in Mumbai where a terror-sticking dead body from the hospital mortuary wakes up. Everybody reads him as Godse who is in a coma for 18 months, and a couple, Bhupati & Malathi Devi forwards as his parents. Further, he knowledges that he is CEO of a company that met with an accident done by his opponent Banerjee. However, he denies it, stating himself as Bose when doctors analyzed that it is a blackout stage.

In a desolate place called the Badlands, four men stand off with guns drawn, their fingers ready at the trigger. Among them are a fugitive seeking redemption, a son out to avenge his father's murder, a loyal servant with a secret and a murderous criminal hired to kill with a vengeance. This is their story...in a place where revenge, deception and cruelty are a way of life.

Davis is a down on his luck filmmaker who, unable to generate interest in his movie has invested what little saving he has in an old camera to shoot the film himself, only to find that he gets more than he expected, in the form of some unexpected help.

The ice caps are melting, there’s overpopulation, political unrest; everything’s going to hell in a handcart – why on earth would someone bring a baby into this world? Directed by Matthew Warchus, Claire Foy and Matt Smith perform a socially distanced version of Duncan Macmillan’s hilarious emotional rollercoaster of a play about a couple wrestling with life’s biggest dilemmas live from The Old Vic.

Village Gym is an uplifting short film about fitness, friendship, and personal growth. Ronnie, struggling to stay fit at home, finds himself inspired by his friend Rachel, who is already a member of the Village Gym in Farnborough. Encouraged by her recommendation, Ronnie decides to join the gym and begins his fitness journey. The Village Gym offers more than just a place to work out-it's a hub for health and wellness. With its state-of-the-art equipment, spacious rooms, swimming pools, sauna, steam room, and jacuzzi, it quickly becomes a transformative space for Ronnie. As he commits to his routine, Ronnie not only gets in great shape but also builds a sense of community. He befriends other gym-goers like Matt, Tom, and Angelina, who share his enthusiasm for fitness and motivate him further. Ronnie's positive experience leads him to recommend the Village Gym to his friend Gimmy, encouraging him

In 1969, the painter-sculptor Daniel Pommereulle made his third film, this one financed by Sylvina Boissonnas. Although only a short, Vite was one of the most costly of all the Zanzibar productions. It features, for instance, shots of the moon taken by a state-of-the-art telescope, the Questar, that Pommereulle first saw while visiting Marlon Brando in southern California in 1968. In Rohmer’s La Collectionneuse, Pommereulle and his friend Adrien philosophize on how best to achieve le vide (emptiness) during their summer holidays. Three years later, Pommereulle would transform the word “vide” to “vite” (quickly), signifying his profound disenchantment with the aftermath of the revolution of May ’68. —Harvard Film Archive

Uchida Mayu is a high school student in a peaceful town near Tokyo. She suffers from violence from her stepfather and plans to run away to her uncle's home in Tokyo. As she is about to board the last bus to Tokyo, a terrible looking old person causes her to miss the bus. She attempts to walk across a ridge. Meanwhile, Mayu's uncle Uchida Kazuki is a freelancer writer. He chases after the hideous monster Yoshie who attacks people. Kazuki receives a phone call that his niece Mayu ran away. He begins a search for her and finds her cellphone on a mountain path. He sees Yoshie's picture on her cellphone.

I Want to Live is a documentary on the lives of Kurdish Refugees from Syria, living in refugee camps in Kurdistan. Shot on location, it is set against the Syrian civil war and the ISIS (Islamic State) attacks upon Kurdistan. Told through the eyes of a young boy, Shndar, living with Thalassemia disease, he searches for an immediate treatment as he ages without losing hope, leaving his home amid simmering ethnic and religious hatred to live the life of a refugee. The film tells stories of daily life on the camp and outside of it. More than being a film on the life of refugees, it is an intimate character study and gripping tale of innocent lost amides wars, a meditation on life, death, war, peace, and tolerance.