Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

An editing film made from older Czech music films, in which Waldemar Matuska searches for a lost song of the sad Helena Vondráčková...

暂无英文版的简介，请添加内容帮助我们完善数据库。

Pran struggles to make a film with newcomers but nobody is willing to finance his flick.Many big stars of 70/80's have special appearances.

暂无英文版的简介，请添加内容帮助我们完善数据库。

暂无英文版的简介，请添加内容帮助我们完善数据库。

“分散的工厂”不断扩张。这段历程讲述了在废弃建筑之间，矿井如何转变为旅游景点，东欧的工厂如何被改造以生产意大利汽车，以及像塞斯托圣乔瓦尼（前意大利的“斯大林格勒”）和卢梅扎内（布雷西亚地区的“工厂城”）等工业城镇的转型……

暂无英文版的简介，请添加内容帮助我们完善数据库。

The only surviving excerpt of a documentary on film production in Weimar Germany, featuring the different personalities of several famous directors of the era at work on the set including Fritz Lang, Robert Wiene, and E.A. Dupont.

Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film. Preserved by the Academy Film Archive in 2004.