Watch Movies & Shows from Docalliance Films
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Balifilm (1997)
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Balifilm was originally commissioned as a stage performance, created from diary images and sounds collected in 1990 and 1992 by Peter Mettler on the island of Bali. The soundtrack is a live recording of eight Gamelan musicians playing the bronze and wooden instruments of Indonesia during the projection of the film. balifilm is a personal, lyrical observation and expression of the creative pulse of an extraordinary culture.
Reminiscences of a Journey to Lithuania (1996)
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A 1971–72 documentary film by Jonas Mekas. It revolves around Mekas' trip back to Semeniškiai, the village of his birth.
Shoot for the Contents (1992)
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Reflecting on Mao's famous saying, "Let a hundred flowers blossom and a hundred schools of thought contend," Trinh T. Minh-ha's film — whose title refers in part to a Chinese guessing game — is a unique excursion into the maze of allegorical naming and storytelling in China.
One Hundred Children Waiting for a Train (1990)
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Tells the story of a group of Chilean children who discover a larger reality and a different world through the cinema. Each Saturday, Alicia Vega transforms the chapel of Lo Hermida into a film screening room as she conducts a workshop for children under the auspices of the Catholic church. The hundred or so children involved had never seen a movie, and in the workshop they see and learn about the cinema: photograms and moving images, projection, camera angles and movement, film genres, and much more. And they watch movies: Chaplin, Disney, Lamorisse's 'The Red Balloon,' the Lumieres' 'The Arrival of the Train to the Station.' Finally, each
Who's Afraid of the Bogeyman (1989)
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Portrait of a private coal company in East Berlin's Prenzlauer Berg district in 1988/89. The feisty woman boss runs the business with humour and understanding. Her seven male employees respect her. To the outside world, they are all tough guys, but as they describe their jobs and personal situations, above and beyond the hard manual labour, their vulnerability starts to come to light.
After Winter Comes Spring (1989)
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A locomotive journey traversing the North to the South of the German Democratic Republic on the eve of its dissolution. Labourers, punks, mothers, intellectuals, young and old are implored to reflect on their life choices, the sacrifices they've made, and their place in the world. Despite everything, hope persists.
The So-Called Caryatids (1984)
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Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc.
Shepherd’s Delight (1984)
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Many of my films involve humour, but unlike the earlier work Shepherd’s Delight attempts to confront the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. Hopefully, this strategy undermines both
Reassemblage: From the Firelight to the Screen (1983)
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A complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, Reassemblage reflects on documentary filmmaking and the ethnographic representation of cultures.
Miniatures: Many Berlin Artists in Hoisdorf (1983)
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On a weekend in June 1983, in what was deemed a "country outing,“ an impressive number of artists from Berlin went to a small village in Schleswig-Holstein; their intention was to give the local residents a taste of Berlin’s avant-garde art. This event included presentations of dance, music, performance art, painting, land art and film. Back in Berlin the footage was manipulated in several ways to produce an “experimental examination.” —independent film and video database
Sans Soleil (1983)
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A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.
Perfumed Nightmare (1979)
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Kidlat, a Filipino jeepney driver, is fascinated by the idea of the American space programme and by Western society as a whole. When he moves to Paris, disillusionment sets in as his dreams are gradually shattered.
Adela Has Not Had Supper Yet (1978)
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When famous detective Nick Carter visits Prague, he becomes involved in strange case of a missing dog and even stranger carnivorous plant. He becomes convinced that he is standing against his greatest enemy, the Gardener, who supposedly died years ago in a swamp...
The Vampires of Poverty (1978)
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Two filmmakers travel around impoverished sectors of the cities of Bogotá and Cali in search of the images of abjection needed to complete a documentary commissioned by German TV. Meanwhile, another camera captures these “vampire” filmmakers feeding off the misery of their marginal subjects.
Lost, Lost, Lost (1976)
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Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.
The Girl Chewing Gum (1976)
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At Stamford Road in Dalston Junction of east London, the camera follows pedestrians, cars and birds while a narrator, who appears to be the director behind the camera, seems to instruct the objects.
Daguerréotypes (1975)
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An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.
The 17th Parallel (1968)
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On the border of North and South Vietnam, civilians live underground and cultivate their land in the dead of night, farmers take up arms, and bombs fall like clockwork. Joris Ivens and Marceline Loridan’s record of daily life in one of the most volatile regions of a war-torn, divided country is both a hazardous piece of first-hand journalism and a shattering work in its own right, simmering with barely repressed anger.