The Tramp struggles to live in modern industrial society with the help of a young homeless woman.
The film shows centuries of decay, compressed into the span of the film, marking Helsinki's Stora Enso headquarters building.
A contemplative search for traces of life in an abandoned industrial area, which once used to be the biggest and most modern coal mine in the world.
In these five "modern narratives" of desire in contemporary consumer culture, Almy constructs an ironic social critique. Each segment focuses on a single concept that is visualized with a simple formal device. With an economy of visual and verbal means, Almy merges voiceovers and images to achieve abbreviated narratives of alienated modern lives. In the first segment, photographic slide projections of individuals and household objects are each labeled "nice." In another, a woman describes a man with an associative series of adjectives progressing from the positive to the pejorative, from "perfect, absolutely perfect," to "boring, absolutely boring." Throughout, Almy presents a picture of personal and social stasis, the commodification of everyday life.
Award-winning filmmakers Jean-Pierre and Luc Dardenne profess their love for the classic "Modern Times". The directors expose their views on the many aspects of the film, Chaplin's brilliancy and they also provide interesting details about the making of Chaplin's masterpiece.
Bonus DVD in the Special Edition package of the Bob Dylan album containing four Dylan music videos: "Blood In My Eyes" (Promo Video), "Love Sick" (Live at the Grammys, 1998), "Things Have Changed" (Promo Video) and "Cold Irons Bound" (Masked and Anonymous Video).
The story, dating back to the 1950s, of the search for a cure to cancer and the impact of Henrietta Lacks, the "woman who will never die" because her cells never stopped reproducing.
On Photography, People and Modern Times is a two-channel video installation that tracks photographic records that Akram Zaatari researched and collected for the Arab Image Foundation between 1998 and 2000. It is a meditation on the two lives of photographs: once in the hands of the people who cherished them, and then in an environment that secures their preservation. Cutting across temporal and geographic borders, the film probes the nature of humans’ relationships with photographs and highlights the limits of standard preservation.