Time flies while waiting for Fidel, and before you know it, it's March 8.

 

 

Film du Jour posts does not list holidays on their respective date, unless a film or scene happens to take place on one.

A film about communism to commemorate the dissolution of the Warsaw Pact on February 25, 1991.

“Alexandre Ivanovitch Medvedkine est le seul cinéaste russe né en 1900. (…) Son énergie, son courage, ses illusions, ses désillusions, ses compromissions, ses bagarres avec les bureaucrates, ses illuminations prophétiques, ses aveuglements, volontaires ou non, son humour indestructible et la lumière déchirante que l’effondrement de l’URSS jette rétrospectivement sur toute sa vie, ce sont ceux de toute une génération, et c’est le portrait de cette génération que j’entends tracer à travers le portrait d’un ami.”

– press kit (via)

A film essay using the life and work of filmmaker Aleksandr Medvedkin to tell the story of communism. Medvedkin traveled the Soviet Union with his Kinopoezd or Cinetrain (also Agit-train), a moving film production train with the sole purpose to create Agitprop while documenting the Five Year Plan.

Wild animals for this year's first National Wildlife Day (USA). A second one is on September 4.

“For me, Afrikareise is, in its own genre, the most intense sound film that exists. Sound and images are in synch like in nature (even if it isn’t about the natural sound of something). The sound becomes the acoustic portrait of the visual action.”

– Peter Kubelka, via

Commissioned to film a rich Austrian couple's hunting trip, Kubelka sat on the material for several years before editing it in something more than the sum of its parts.

January 21 redux: a film from 1984 on the date Orwell died (1950).

“The film is about observing, about glances that see without being seen, a dubious art of light and visibility.”

– Michael Klier, via

According to Harun Farocki, Der Riese was the first narrative film completely compiled out of surveillance footage.

A film about filmmaking, or Hollywood, to celebrate the opening of Edison's Black Maria in 1893.

“You and I are going to be filming the actors. The two of us, see, are going to be filming the actors – continuously – and you will be filming me and the actors. I'm going to be filming the actors and Terry is going to be in charge of filming the whole thing. You see?”

– William Greaves – Director

During a screentest for a documentary in a documentary in a film, director William Greaves attempts to cast the leads for his upcoming piece Over the Cliff, while a documentary crew records their progress.

Winter sports in celebration of the Chamonix 1924 Winter Olympics.

“Ich sollte eigentlich ganz allein auf der Welt sein, ich, Steiner, und sonst kein anderes lebendes Wesen. Keine Sonne, keine Kultur, ich nackt auf einem hohen Fels, kein Sturm, kein Schnee, keine Straßen, keine Banken, kein Geld, keine Zeit und kein Atem. Ich würde dann jedenfalls keine Angst mehr haben.”

– Walter Steiner

In a film that is as much about Herzog as it is about Steiner, we follow the soft-spoken woodcarver in preparation of his definitive ski flight in Planica, Yugoslavia.

“Twenty-three years of living with nothing but gutter hypes and junkies!”

– Florrie Fisher

A revolver to commemorate Samuel Colt's sale of 1 000 revolvers to butcher Captain Samuel Walker in 1847.

“Art and science encounter each other when they seek exactitude.”

– Étienne-Jules Marey

However, where there is bloodshed, there can be art. Scientist Étienne-Jules Marey studied movement, and further adapted an existing revolver-style camera gun invented by astronomer Jules Janssen in 1874. The revolution in Marey's invention was not in the least in its mobility. Unlike Muybridge, whose locomotion experiments required a huge, cumbersome setup, Marey could strap on his “gun”, and shoot moving footage while following his target around. His chronophotograph Escrime can be considered Marey's first successfully captured moving footage.

Confetti for New Year's Day.

“In this film, by showing certain basic aspects of a city, a way of life is put on trial… the last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution.”

– Jean Vigo in his manifesto Vers un cinéma social