Beneath the fake blood and cheap masks of countless haunted house attractions across the country, there are whispers of truly terrifying alternatives. Looking to find an authentic, blood-curdling good fright for Halloween, five friends set off on a road trip in an RV to track down these underground Haunts. Just when their search seems to reach a dead end, strange and disturbing things start happening and it becomes clear that the Haunt has come to them…
Recovering from the trauma of being kidnapped last Halloween by the Blue Skeleton - a group who take "extreme haunt" to another level - five friends decide they must face their fears in order to move on. Heading back out on the road to visit more haunted house attractions, signs of the Blue Skeleton start appearing again and a new terror begins.
A director fumbles through a self-inspired play in an attempt to reclaim his creative integrity.
“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky
Both a beguiling meditation on the aesthetic of a city and a loving tribute to a great architect, Heinz Emigholz's documentary examines urban Los Angeles through the houses of Austrian-American architect Rudolph Schindler. Eschewing the documentary conventions of voice-over narration and archival photos, Emigholz mixes artfully composed images of more than 40 Schindler creations with an ambient soundscape to produce a singular viewing experience.
A collaboration with a group of villagers on the periphery of Khon Kaen province in the northeast of Thailand, recording them as they agree to take turns to act scenes scripted from two episodes of the TV series 'Tong Prakaisad', a rags-to-riches TV soap, in the familiar surrounding of their homes.
Dream Houses is a 8mm color stop-motion animation that reflects the artist's engagement with the idealism and hope that modernism brought for the Indian middle class and the poor in the Nehruvian sixties. It has also been used in Utopia, Malani's first multiple-screen installation, wherein this film is projected adjacent to the film Utopia, shot after the artist moved to a basic apartment building in a suburb of Bombay. This format allowed her to juxtapose the idealism of the sixties with the later dystopia of urbanism in the seventies.
hree stories happening in three different centuries, revolve around a mysterious painting entitled "Two Owls". In the 19th century thread, a man living in a big mansion is worried about his brother whose wife died a while ago. The brother however behaves as if she was still alive. A befriended psychiatrist is being called for help in order to examine the phenomenon in long conversations. He has to recognize however that the man's behavior doesn't harm anyone. He actually offers a painting to the doctor which his wife allegedly just finished: it's called "Two Owls". The painting reappears in the midst of World War II. A woman finds it in the apartment of her husband's lover. The general of the Red Army was just found dead there. He died in the arms of his concubine. Torn between ambiguous feelings of grief and anger the widow has to make a decision. She also needs to retain her composure as the military police is already waiting outside. The last story happens in present time.
The film's plot centres around the libidinous sexual shenanigans of a middle-class Californian family, and deftly explores themes such as marital discord, middle age, adultery, and incestuous desire.
After building his dream house, architect Newton Davis proposes marriage to his girlfriend, only to be summarily rejected. He seeks solace in a one-night stand with a waitress, never imagining that a woman he slept with once would end up posing as his wife. Gwen's ruse is so effective that by the time Newton learns of his "marriage," the entire town feels like they know him.
The film portrays the changes in the life of an Armenian family on Aleppo’s frontline in Al Midan, an area that brought shelter to the persecuted Armenians 100 years ago and today to many displaced Syrians. From the balcony of his home, the director films with a small camera the changes in his neighborhood and his own family, interweaving his images with extracts from classical films to illustrate the parallels between the Armenian genocide and Syrians’ reality today.
Borinage left Henri Storck profoundly disturbed by injustice and social poverty. When he was offered a chance to make the film he undertook an in-depth survey into the working class and slums and shouldered his camera as a militant filmmaker. In a plot of Walloon slums he staged characters and situations as examples. All shots work on intensity, the filling of the frame, which gives the impression of being unable to breathe, of being trapped, closed in. And in the face of this overflowing misery is the emptiness of the expressions, the absence of emotion. Survival is all. But the message of hope is there, with the destruction of slums (the hovels are demolished as if getting rid of a tyrant) and the construction of garden cities surrounded by trees in bloom and a future of song, leaves one with the impression that man’s dignity has been safeguarded.
Hristina is invisible. Quiet and unnoticed, she cleans houses. Each day a different house each day the same work. She is a Bulgarian, living in Amsterdam. Contact with her employers takes place mainly through notes. To come to terms with her life, she takes photographs of the interiors of 'her' houses. Together these photos form the house she inhabits in the Netherlands. A house that holds her prisoner. In this film documentary director Suzanne Raes portrays one of the many, often anonymous, people, ranging from cleaner to au pair, that we allow into the most intimate places of our lives. Hristina's account of her life, her view of herself and the world around her, is a mirror for us. Our houses are the setting of her life, the place she got lost in, where she got stuck. Who are these people cleaning our homes? Do we really want to know?
‘Houses with small windows’ is a powerful and yet muted portrait of an honour killing in the rural Kurdish Southeast of Turkey. 22-year old Dilan pays for her forbidden love for a young man in a neighbouring village with her life. She has shamed the family and therefore must die at the hands of her own brothers. And as tradition will have it, the killing must be compensated.
Every October, over 30 million people will visit Halloween Haunted Houses. This film sheds light on the dark world of haunting.
A case of home-squatting escalates into an unusual co-habitation situation.
A war movie that takes place in Finnish Karelia in 1944.
Angie and Izzy get a housesitting gig that seems too good to be true. Gruesome supernatural hijinks ensue.
From Puritan meetinghouses to ornate cathedrals, this informative program travels from coast to coast to visit 13 houses of worship, sites of significant architectural, historical and, of course, spiritual value. Covering fascinating structures dedicated to many different faiths, the tour reveals the role sacred spaces play in their communities and congregations, and explores their place in the deep-rooted religious history of the United States.
A powerful three-part documentary studying the US involvement in Guatemala, El Salvador and Nicaragua. The differing factions - Sandinista leaders, Guatemalan campesinos, CIA operatives, Contras and US government apologists - are interviewed and, in the absence of a controlling narration, the audience is encouraged to draw its own conclusions.