Art, politics and motorcycles - on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger. 　　Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing. 　　The film introduces Berger's art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger. 　　The prelude and starting point is Berger's mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing. 　　Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller.

Art, politics and motorcycles - on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger. 　　Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing. 　　The film introduces Berger's art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger. 　　The prelude and starting point is Berger's mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing. 　　Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller.

经典的偶发艺术/行为艺术表演现场纪录片。Claes Oldenburg早年是偶发艺术的实践者，70年代后成为著名的现代派雕塑家、设计师和波普艺术家。《Happenings》是其早年的艺术实践之一，参与创作的还有Carolee Schneemann、Jackie Ferrara、Jean-Jacques Lebel等许多来自美法德各国的偶发艺术家。 　　Early in 1962 Claes Oldenburg offered a remarkable series of ten 'Happenings' in a store on East Second Street in New York City. The audiences were kept small to heighten the intimacy of the experience. What is a 'Happening'? It would seem impossible to describe afterwards. Yet Raymond Saroff compressed the rich and sprawling imagery of each evening-length work to the essential matter in hand, reassembling a visual realization of what was seemingly consigned to the memories of its audience. All the characterizations, the unprepared transitions, the very personal rhythms with something of Saroff's own: the 'Happenings' impact on a sensitive eye, its reduction to a single and coherent point of view.

经典的偶发艺术/行为艺术表演现场纪录片。Claes Oldenburg早年是偶发艺术的实践者，70年代后成为著名的现代派雕塑家、设计师和波普艺术家。《Happenings》是其早年的艺术实践之一，参与创作的还有Carolee Schneemann、Jackie Ferrara、Jean-Jacques Lebel等许多来自美法德各国的偶发艺术家。 　　Early in 1962 Claes Oldenburg offered a remarkable series of ten 'Happenings' in a store on East Second Street in New York City. The audiences were kept small to heighten the intimacy of the experience. What is a 'Happening'? It would seem impossible to describe afterwards. Yet Raymond Saroff compressed the rich and sprawling imagery of each evening-length work to the essential matter in hand, reassembling a visual realization of what was seemingly consigned to the memories of its audience. All the characterizations, the unprepared transitions, the very personal rhythms with something of Saroff's own: the 'Happenings' impact on a sensitive eye, its reduction to a single and coherent point of view.

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger's scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark's Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

In this intellectually sophisticated children's story, young John (Jacob Katz) has been under a lot of pressure because his parents are divorced and his mother will not let his father come see him. So when John has a dream about Jesus -- who turns out to be an impoverished little girl, in this case -- he is bound to feel better. The girl-Jesus has her own way of coming into and out of the picture but teaches John that no one is all bad or all good. - Eleanor Mannikka, All Movie Guide

In this intellectually sophisticated children's story, young John (Jacob Katz) has been under a lot of pressure because his parents are divorced and his mother will not let his father come see him. So when John has a dream about Jesus -- who turns out to be an impoverished little girl, in this case -- he is bound to feel better. The girl-Jesus has her own way of coming into and out of the picture but teaches John that no one is all bad or all good. - Eleanor Mannikka, All Movie Guide