Projects matching: ISO

Synopsis

'Summer wouldn't be summer without matsuri. Unless you see it, you don't believe what it is like.' This documentary is a unique comparison of traditional Japanese and English fairs. It observes why both fairs have survived for generations and why they still attract people despite oppressive heat or pouring rain.

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Like an alien spacecraft landed on a poisoned wasteland, the Millenium Dome makes a fitting tribute to the works of New Labour. Taking the dome as a potent architectural symbol of the new millennium, MM is a meditation upon time reflecting the changing landscape in London's East End.

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Heathcote, a young English officer, arrives on the Island where Napoleon is being held prisoner. His mission is to keep a close watch on his military idol. Lowe, the new Governor of the island, has just arrived too and rules the island like a prison. Napoleon's valet and childhood friend, Cipriani, waits on this little world. The microcosm of the French court stands united in continuing to treat Napoleon with the utmost respect.   An escape plot is hatched by an American Pirate and the former Grande Armee general. They plan to carry the Emperor away from Saint Helena on board the mythical Flying Dutchman and it becomes increasingly clear to Heathcote that Napoleon has a plan. Heathcote remembers the day when he lost Napoleon who galloped off across Deadwood Plain. He now realises that this allowed Napoleon to calculate the time needed to reach the coast. Everything for the escape goes as planned but, at the last minute, Napoleon seems to change his mind. Napoleon's rescuers are killed in the course of a bloody battle.   We see Napoleon on his deathbed clearly finding some comfort in the priest at his side. In front of Napoleon's coffin, Heathcote gathers together the threads of the story and realises that Napoleon's only chance of leaving the island was to stop being the Emperor. Cipriani laid down his life so that Napoleon could live an ordinary life at last. Heathcote likes to think that this return to a simple and anonymous life is the finest proof of Napoleon's tactical genius.

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A boy idolises his absent father and awaits for his return. One day he does return.

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Out of the Cold is the story of Patrick, a ten-year-old boy growing up in a small coastal village and his fall from innocence into experience.

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Riva is the portrait of a woman, Riva Ben Eliezer, now ninety years old. How do you look at the life of someone who has lived through so much? I would look at her hands, wrinkled and old, and think, these are the hands that did all those things, that were communist in Palestine, that were imprisoned and tortured, that bore children and a great and terrible war, that lived in Siberia, that taught kindergarten, that wrote books. These hands, no other, did this, and this is what they look like now. This is what time and life has done to my grandmother's hands.   But the film is more than that. It is more than a portrait of a woman who lived through extraordinary times, who was a Jew in a place and time when there was nothing and nowhere worse to be. It is the portrait of a whole life, not just the sections that have the most drama. It is the portrait of her now - for now contains all her past, somehow, in her hands and in her face. In her voice and especially in her laugh.   It is a private film made for the public. The use of hand processed images, with their patina of blotches and scratches, creats a space for Riva to exist, where the presentation of her ninety-year-old body is not intrusive but respectful. It is a private film also because it was made in private, just me and her, so our relationship becomes a part of it.   It is not my intention with this film to deify Riva. Just to show her, as I see her, because it is important to see the lives of others, lives that have been deeply lived, as Riva's has.

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Section of 'a midsummers night dream' which reflects climate change today around the globe.

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Shaun of the Dead is an everyday tale of life, love and the living dead focussing on a group of friends who encounter a literal night from hell at their local pub resulting in a zombie holocaust.

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Cupid is a confessed alcoholic who had his heart broken forty years ago and is destroying romantic love and poisoning relationships.   But a mix up over his own poison gives him another chance. Have his own bitter experiences ruined his belief or will he be able to get love back on track in time to save Zoe and Martin?

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In the ex-colliery villages of East Durham, there is an abyss: falling down it is an easy thing. In a dangerous landscape, Barry, 40-year-old ex-youth worker, occasional labourer, wryly comic storyteller and single father, watches out for his 12-year-old son Callum. His eye is drawn to Emma, a 22-year-old with two children, Jade, 7 and Shannon, 4.  Barry likes to help, likes kids and likes Emma. But Emma has her own worries.   The film follows her personal journey as she single-mindedly tries to get her partner Darren off heroin: as she acquires the cocktail of drugs that will see him through his 'rattle' and takes him to 'The Breakies', a bleakly isolated collection of fishing huts, out beyond the steelworks, at the mouth of the Tees. And it follows Barry, Jade, Shannon and Callum in tow, picking up the pieces in a community that has moved further and further away from the economic mainstream. The abyss yawns and Barry negotiates the difficult terrain opening up from his own serious misjudgements. Watched by the disapproving Callum, his attempts to help Emma draw him ever closer to the edge.

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Stuck in a bleak frozen world with only his oppresive aunt for company, Conradin finds solace in the vicious secret which lurks at the bottom of the garden.

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Sunday tells the story of an infamous day in Derry, North of Ireland and how the events of that day were subsequently covered up by the British Government of the time. On Sunday 30 January 1972 a peaceful civil rights march against internment (imprisonment without trial), organised by the Northern Ireland Civil Rights Association, ended with 13 marchers shot dead and 15 wounded. It became known throughout the world as Bloody Sunday, an event that was seen as a defining moment in Irish/British relations. Told primarily from the perspective of the Derry community, juxtaposed with the British Army/State's preparations and reaction to the day, Sunday communicates both the forensic and the emotional truth of what happened.