Theory of Obscurity tells the story of the renegade sound and video collective known as The Residents…a story that spans 40 years and is clouded in mystery. Many details surrounding the group are secret, including the identities of its members. They always perform wearing masks and costumes, which is part of their magic. At its heart, this story is about perseverance and chasing your dream. The Residents never caved to convention. They never compromised. They’ve followed their muse for decades and thousands of fans have hung on for the ride. Along the way they’ve also inspired many people to be weird, take chances and find their own voice.

美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

Indian cinema has the largest audience of any art form on the planet. With a population of over a billion, India has recently enjoyed an economic boom and its movie stars are treated like deities. Today their fame stretches across the diaspora, in what has become a truly global industry. As Indian cinema celebrates its centenary, Sanjeev Bhaskar travels across the subcontinent to get under the skin of the Indian movie business as never before. From young hopefuls in the slums of Mumbai to superstars like Kareena Kapoor and Aamir Khan, he meets the stars of the silver screen and the people behind the scenes - legendary producers, directors, musicians and choreographers - exploring the stories behind some of the greatest films ever made.

A look at the life and work of Spanish filmmaker and film critic Fernando Méndez-Leite, as he writes his memoirs and a novel with autobiographical resonances.

Mariana believes that weddings are a farce, so she dedicates herself to planning them. When Luis, her boyfriend, proposes to her, she refuses to fall into the business that she despises so much. To pretend that her breakup didn't hurt her, she decides to organize the wedding of her now-ex. What Mariana doesn't know is that the reason why Luis marries her is to take revenge on her.

Documentary on famous writer Marguerite Duras and her paradoxical relation to the seventh art by her former film editor.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

A short film showing behind the scenes