Taking Lutz Bacher’s interest in identity as a starting point, this selection of artists’ videos looks at portraits, guiding us through the different forms of relationships between subject and filmmaker.
Sarah Pucill's Magic Mirror (2013) combines a re-staging of the French Surrealist artist Claude Cahun’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Cut Off), followed by a Q&A with the director and writer Gavin James Bower.
Something doesn't add up for seasoned reporter Jeremy Scahill, when the scene of a supposed Taliban honour killing in the village of Khatabeh in Afghanistan starts to sound more like a botched (and covered up) US military night raid.
The appalling indifference and hostility towards people living with HIV in the 1980s and the efforts of New York-based campaigners to combat this are the subject of journalist and director David France’s inspiring, instructive film.
Tracing the rise of the US Military's most secret fighting force, the Joint Special Operation Command (JSOC), director Richard Rowley presents a riveting, accessible and incendiary exposé on the dirtiest of government secrets.
The appalling indifference and hostility towards people living with HIV in the 1980s and the efforts of New York-based campaigners to combat this are the subject of journalist and director David France’s inspiring, instructive film.
The Last Days of Jack Sheppard is based on the inferred prison encounters between the 18th century criminal Jack Sheppard and Daniel Defoe, ghostwriter of Sheppard’s ‘autobiography’.
'Fassbinder has created a huge, magnificent melodrama that has the effective shape of a film of conventional length. There's never before been anything quite like it' The New York Times (1983)
The Last Days of Jack Sheppard is based on the inferred prison encounters between the 18th century criminal Jack Sheppard and Daniel Defoe, ghostwriter of Sheppard’s ‘autobiography’.
This famously berserk adaptation of Ayn Rand's The Fountainhead - the 1943 novel that championed Rand's own neo-Nietzschian philosophy of ‘Objectivism' - features Gary Cooper as Howard Roark, the uncompromising architect who dynamites a building that fails to conform to his plans.
