Souryam

Andari Bandhuvaya is a sincere attempt to highlight the importance of human values in today's society. Movie shows two types of environments starts with city shifts to village and then shifts to city. Nandu is simple man who helps and lives in simple manner, he watches all as his family members. Paddu belongs to a poor family and feeds her family with a normal job. She is optimistic and straight forward. Accidentally she visits hero's village. She watches values of village. Her behavior and conduct changes.

Hearts collide when the conniving Jaggan (Prem Chopra) convinces Kishan (Amol Palekar) that his wife, Shanti (Rakhee Gulzar), is having an affair with his brother Shambhu (Rajesh Khanna). Of course, all this is done so that Kishan will marry Jaggan's cousin Tulsi (Rekha) according to Jaggan's master plan … even though Tulsi would much rather marry Shambhu. Confused? Don't worry. So are these weary lovers!

Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating. (Dangerous Minds)

Documentary about Ajax Amsterdam in 1968.

In the early twentieth century, a mysterious ecological crisis nearly wiped out the fish that most people cared about in the largest freshwater ecosystem on earth—the Great Lakes. The impact reverberated across the region, ruining local industries, damaging small town economies and indigenous communities, and destroying the livelihoods of people in the United States and Canada. With little reason for hope, a dedicated group of scientists, policymakers, and conservationists tackled the mystery.

Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" - analogies between weaving and spinning thread and images already a pattern within film history (e.g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.