Heart of Glass is a journey. A journey through several countries in pursuit of a story; the story of a young glassblower singular talent: Jeremy Maxwell Wintrebert.
Jeremy talks about his story, his painful past, tragedies that have brought him down, his rebirth, his redemption, and this job that has made him an artist.
From the day he met with glass, the melting material has allowed him to find out how to express anger, transcend sadness into beauty, channeling his rage to turn it into objects that are trying to bring a little bit of beauty to this world. He burned his demons in the furnace of this passion.

Directed by Jérôme de Gerlache
Produced by Marc Brunet and Jerome de Gerlache
Edited by Elisa Cosse
Mixed by John De Buck
Colorgrading Jean-Christophe Savelli
Trailer edit by Audrey Simonaud
Music composed by Cyesm
Additional music by Apashe

Produced by Marty

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A Place to Stand is the story of Jimmy Santiago Baca’s transformation from a functionally illiterate convict to an award-winning poet, novelist and screenwriter.
Told through extensive interviews with Jimmy, his family, friends and peers, A Place to Stand follows Jimmy’s path from Estancia, New Mexico – where he lived with his indigenous grandparents – through childhood abandonment, adolescent drug dealing and a subsequent 5-year narcotics sentence at Arizona State Prison in Florence, one of the most violent prisons in the country.

Brutalized by the inhumanity of his incarceration, Jimmy survived by exploring deep within, discovering poetry at his soul’s core. Through the life changing capacity of poetry, writing and arts, he stepped away from the violence and negativity around him, healing the wounds of his childhood and opening him to a new future.
Jimmy’s extraordinary life is both inspiring and haunting, simultaneously an indictment of our current criminal justice system and a model of the potential for human transformation.

A Place to Stand is inspired by Jimmy’s memoir of the same name, which has been called “elegant and gripping” (The Los Angeles Times) and “an astonishing narrative that affirms the triumph of the human spirit” (The Arizona Daily Star). It explores the life and mind of a man whose early life was dominated by sadness, rejection, anger and pain, a man who embraced language as a balm for his battered spirit, a man who – through the power of poetry – finally found his place to stand.

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(26 min)

Iconic and ubiquitous, thousands of manhole covers dot the streets of New York City. Enlivening the everyday objects around us, this short documentary is a glimpse of the working lives of the men behind the manhole covers in New York City.

Bengali and Hindi with English subtitles

a documentary film by Natasha Raheja

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100 years ago the greatest battle the earth has ever seen began in the Somme region of France. More British and Canadian soldiers would die in this one single battle than in all of World War II, yet it is a relatively unknown event today. Soldiers’ Stories brings a ‘grunt eye view’ of battle to life using original, never before seen 3D stereoscopic images from the time. Painstakingly remastered for 15/70 mm film format these powerful and haunting images are brought to the screen for the first time ever. The Soldiers’ Story is a universal and timeless story. In the film the realities of war are retold by modern combat veterans who relay their own stories of today in order to speak for the veterans of the past.

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FILMMAKERS AND SUBJECTS IN ATTENDANCE – Seven years ago, director Sheldon Wilson set out to tell a story involving crooked cops, a Mafia godfather, murder, a public poisoning, Elvis Presley, prison gang leaders, and the cocaine-addicted newspaper editor who printed it all. As it turns out, this was just the beginning. ONCE UPON A CRIME: THE BORRELLI – DAVIS CONSPIRACY follows the extraordinary story of two innocent men whose lives are torn apart solely because of their race.

Mike Borrelli, an Italian-American NYPD detective, and his partner Bob Davis, one of the first African-American detectives in New York, are convicted of first-degree murder – but Borrelli and Davis are innocent. Law enforcement agents know it, too, but they are hell-bent to connect the murder to the Mafia. Incredibly, they give the real gunman immunity and place him into witness protection in exchange for his false testimony against the two officers. This incredibly moving story is a testament to their courage and a friendship that has spanned over 50 years.

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After decades of war and an oppressive Taliban regime, four Afghan photojournalists
face the realities of building a free press in a country left to stand on its own –
reframing Afghanistan for the world and for themselves.

When the Taliban ruled Afghanistan, taking a photo was a crime. After the regime fell from power in 2001, a fledgling free press emerged and a photography revolution was born. Now, as foreign troops and media withdraw, Afghanistan is left to stand on its own, and so are its journalists. Set in a modern Afghanistan bursting with color and character, FRAME BY FRAME follows four Afghan photojournalists as they navigate an emerging and dangerous media landscape – reframing Afghanistan for the world, and for themselves. Through cinema vérité, intimate interviews, powerful photojournalism, and never-before-seen archival footage shot in secret during the Taliban regime, the film connects audiences with four humans in the pursuit.

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Nefertiti’s Daughters is a story of women, art and revolution. Told by prominent Egyptian artists, this documentary witnesses the critical role revolutionary street art played during the Egyptian uprisings. Focused on the role of women artists in the struggle for social and political change, it spotlights how the iconic graffiti of Queen Nefertiti placed her on the front lines in the ongoing fight for women’s rights and freedom in Egypt today.

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When I entered the apartment of my 86 year-old second cousin John Alarimo, I had no idea what I would find. After years of living just blocks apart, John was letting me into his home for the very first time.

I didn’t know “Johnny” growing up. I only heard about him through aunts, grandparents, my father. I knew that he’d lived in Rome for twenty years, made movies, consorted with movie stars, and worked on the epic Hollywood classic, Ben-Hur. In what capacity, I wasn’t sure.

As a child, the only time I met John was at a funeral, the image of him still emblazoned in my mind: dashing, witty, charming, funny, electric — and constantly telling stories. It’s only as an adult that I can look back to see what a legendary figure he had become in my mind.

Somewhere in the 70’s, Johnny returned from Rome and moved to LA. He soon retired. In the 90’s I moved to Los Angeles too, and ended up, by chance, living in the same neighborhood. We slowly got to know each other. A dinner here, a function there. But somehow John always managed to keep his distance. Fun and effusive in person, his personal life always lingered just off-screen beyond my view.

And there were always the stories. His intriguing, personal relationships with so many icons and legends from the 20th Century: Rock Hudson, Bette Davis, Charlton Heston, Charlie Chaplin, Elizabeth Taylor, Gore Vidal, and more. Whenever we met, Johnny would repeat these stories, and always in the same way. Not exactly rehearsed, but “written and directed” as a friend of my once commented. I found myself intrigue, though not so much with the stories themselves, but by the kind of mask they seemed to form: John’s stories felt like intimacy, yet they seemed to hide more than they revealed.

Over the years I would ask John if he wanted to record his stories or make a film. He usually declined.

Finally, in 2009, with an opening in my schedule, I asked John more intently. Again he deferred and told me he was writing a book. We were having dinner and I realized that I was no longer in the casual role of having supper with a cousin, but that of a director suddeny pitching a film to its star. Sensing this was a crucial moment, I told John that he should definitely write a book, but added, “it’s watching you tell the stories that makes them interesting”. John got a glint in his eye. The kind a performer gets when he or she suddenly realizes they are the only actor in the world who can inhabit the role.

Dinner ended and a couple of weeks later John called to say that he would make a film, but only under one condition: that he would never have to see the finished film.
In January of 2010, I entered John’s apartment for the very first time. It was both beautiful and worn. Elegant furniture. Tattered curtains. And lots of boxes. Sunset Boulevard on a smaller scale. A world and a life, frozen in time.

As we filmed and John’s trust grew, he began opening the boxes. Like a real-life Forest Gump or Zelig, his wonderful, magical life emerged. Hundreds of photographs, letters, and mementoes, all carefully labeled and preserved. There was John and Bette Davis. Heston. Rock Hudson. Wyler. Gore Vidal. Richard Burton and John Wayne. There Kirk Douglas or Angie Dickensen. Alain Delon, Romy Schneider, Mae West or Jeanne Crain. And dozens more.

Over the course of filmmaking, John’s life came into bloom: a man, beautiful in his youth, meticulously recording himself over a lifetime, everything notated and described, as if waiting to finally be seen.

And there I was, entering as if on cue, camera in hand.

Featuring hundreds of rare, never-before-seen black and white photographs, The Man Who Saved Ben-Hur is John Alarimo’s epic journey through Old Hollywood, La Dolce Vita Rome and the 20th Century. It is an emotional detective story that charts a man’s psyche. And maybe, perhaps, uncovers his soul.

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From Brazilian favelas to dusty Congolese villages, from neolithic Scottish isles to modern soccer pitches, BOUNCE explores the little¬-known origins of our favorite sports. The film crosses time, languages and continents to discover how the ball has staked its claim on our lives and fueled our passion to compete. Equal parts science, history and cultural essay, BOUNCE removes us from the scandals and commercialism of today’s sports world to uncover the true reasons we play ball, helping us reclaim our universal connection to the games we love.

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TAP WORLD is an award-winning feature-length documentary starring the most cutting-edge tap dancers from across the globe. Brought to you by the Executive Producers of the highly acclaimed short film, TAP HEAT, this documentary follows leaders of the art form who are shaping the community around them. Their personal stories of inspiration, struggle, and triumph are keeping this art form alive and thriving internationally.

For the first time, tap dancers of all ages were encouraged to share their individual journey through tap dance to be included in the film. Over 115 submissions were received from more than a dozen countries. The most compelling were chosen and weaved into the film alongside some of the Masters of Tap. The enthusiasm and support for this project clearly exemplifies the global growth appreciation and passion for Tap Dance.

As you watch this unique American art form performed by tap dancers from the streets of New York to dancers in Japan, Brazil, France, India, Australia, South Africa and beyond, we guarantee that you won’t be able to keep your own feet still.

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The once rich and thriving Cambodian culture was decimated and eliminated from the history books by the barbaric Khmer Rouge during the genocide of the 1970’s. 30 years after the genocide, the Cambodian diaspora’s young, coming from all over the world, are returning to the motherland and introducing hip-hop culture to help revitalize the fractured Khmer culture. These Cambodian youths are trying to inspire the post-genocide generation to take ownership of their future. In their quest, they are claiming back the artistic and cultural heritage of their ancestors, enriching it with contemporary techniques and influences. Through their dedicated work, these young people are trying to heal Cambodia.

THE ROOTS REMAIN follows the story of Canadian-raised graffiti artist FONKi, as he returns to his ancestral Cambodia to reunite with his family and to meet with other leaders in Cambodia’s growing hip-hop community. Utilizing Cambodian film archives, as well as new original footage, the film chronicles the heartbreak of FONKi’s family during the genocide, and bears witness to FONKi’s efforts to instill passion for street art in Cambodian youth. With his largest mural to date, he pays an emotional and poignant tribute in Phnom Penh to his relatives who disappeared during the war.

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Artist and Disney designer Joe Rohde sets out on a month-long horseback expedition across the Altai Mountains of Western Mongolia with the intention of painting large scale landscapes to raise funds for Snow Leopard conservation. Facing blizzards, rebellious camels and the rapidly approaching Mongolian winter, it is a pilgrimage that explores why we travel, how we interact with the world, and the monumental effect that has on everything else – including the elusive and enigmatic snow leopard.

Snow leopards should not disappear. We don’t know what we do when we remove an animal from the land. What does the land become, without the spirit and actions of its highest predator? What unpredictable cascades of change follow the demise of the leopard? And what loss of meaning? Without the snow leopard, and the knitted systems of life that support it, what are the Altai mountains but silent rocks?

Land expresses itself with life. At its innermost core, land is mineral; rocks formed at the dawn of our planets coalescence, or created by various processes since then, volcanic, metamorphic, sedimentary. The rocks may be ground into powder, formed into dunes, plains, and eroded hoodoos, or they may still stand as buttes, tors, cliffs, and ridges. Somewhere within all this rocky dust is bacterial and fungal life, sufficient upon its decay to give foothold to simple plant life. These in turn give rise to more complex plant life, which inevitably offers fodder to some type of animal life, which then modifies the plant cover by consuming or spreading it, and so on. The modified landscape in turn affects the climate, increasing or decreasing rain and wind erosion which in turn grind rock into soil. This chain of transformation unites the inert silicate granules in the soil with the very weather that passes overhead, through the living bodies of animals. Animals are the part of the land that is alive and mobile, the part of the land that interacts. Through various modifications, digging, hunting, eating, destruction and construction, through the remains they leave behind, animals make the land what it is. The mineral, meteorological, botanical and zoological facets of any place on earth are really one thing, one life made of interwoven movements. Animals are to land what bubbles are to champagne. Without them, it’s something else.

That is what animals are, not a resident of the place, but a quality of the place. The quality of movement. The quality of intelligence and intent. The quality of connection to other places through migration. The quality of emotion, of feeling alive, wanting to live, of living, and dying. Without life, land is not “land,” but an alien space, something cold and terrifying.

That’s why it’s not okay to tear entire hunks out of the landscape, for profit or for glory, with no regard for the consquences. It’s not just legally wrong, not just morally wrong, but perversely wrong…not right with the world. We should try to right what is wrong. Not all of us can be secret agents and investigative reporters, following the bloody tracks of the wildlife trade to the penthouses of East Asia, or be politicians enacting conservation laws with enough teeth to be enforcible, or be field workers developing a community’s harmonious relationship with nature. We do what we can.

I’m an artist. So, I’ll paint for the wild. This time, for snow leopards, because they still have a shot. According to data from the Snow Leopard Conservancy, there’s a fair number of them in the Altai mountains of Mongolia. If that Mongolian population of snow leopards could be preserved, perhaps depleted areas in other areas might one day be replenished, one day when it’s safe for the elusive, tragic creatures to return. Until then, let’s just keep’em alive.

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“Hand made with love in France” is the 90′ documentary I have been working on for over a year. It tells the story of three craftsmen who work for the greatest couture houses of Paris.

With great sense of humor and strong straightforwardness, they freely criticize the fashion world. Made in France products that aren’t made in France, clients who don’t know what they buy… And every day, a more uncertain future for real luxury items. The craftsmen’s workshops are closing down one by one… The three artisans are a few years from retiring, and they have no one to take over…Who will assure the making of Haute Couture collections if they are all gone ?

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All These Flowers officially started one day when a case worker–Mother Nicole–told me she had a young woman named Bonnie Love coming in to her office. I’d been considering doing a documentary on Bipolar Disorder for a few months leading up to that day. My hope was to clearly define the disorder so that the term wouldn’t be misused as often as it is. But more than that I hoped to tell the honest story of the lives of those who have it.

M. Nicole told me Bonnie had been diagnosed with Bipolar Disorder. She said they were going to try to re-enroll her with Humana. Not knowing yet how I was going to tell this story I decided it couldn’t hurt to just film the process that day. It was June 1st, 2013.

Today, almost 2 years later, I hit export on what I want to say is a finished product–though I never really feel ‘done’.

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Pie Town came upon its name in the 1920s when the area was a cattle driveway and stopping point for people escaping severe dust bowl conditions Travelers needed sustenance, someone made pies, and not much has changed since. So why did the latest pie lady, Kathy Knapp, leave her charmed, privileged life in Dallas to bake pie in a dusty town with no traffic light, no gas station, no motel? On a road trip with her family in 1995, they drove through Pie Town and saw a sign posted on the door of a defunct trading post: “There used to be pie. There ain’t no more.” Knapp’s mother insisted Pie Town needed a pie shop. “This isn’t right, it’s unAmerican” she repeated, and so they bought it.

The film chronicles the history of the area, and Kathy’s and her mother’s place in its distinction. We become privy to her resolve, her heartache, the subsequent healing, and how for her pie is a vehicle for love and peace.

You’ll see an alien, a dummy, feel connections to deep space, and hear some finger-snapping tunes. You’ll want pie. Welcome to Pie Town, New Mexico. The name is no joke.

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Documentary ManIslam reveals men pushing for a more progressive faith

Imtiaz Pavel invented a game, similar to Snakes and Ladders, which he uses to educate people about women’s rights on his travels through Bangladesh.

In one segment of Nefise Özkal Lorentzen’s new documentary ManIslam – Islam and Masculinity, the activist is shown interviewing the parents of two children – a 26-year-old man and his wife, who they are told is 18. When Lorentzen interjects to ask the husband about lullabies that he heard as a child, stopping to sing a song from her own youth, Pavel starts crying.

“You can see the girl is not 18, which means the girl gave birth to her two children at a younger age than she admits on screen,” says Lorentzen, “but I cannot say ‘you are lying’.”

In the fascinating film, which has its world premiere at the Göteborg Film Festival today, January 28, Lorentzen travels to Bangladesh, Turkey, Kuwait and Indonesia and interviews men who are pushing a more progressive version of Islam, one that questions ideas about patriarchal roles in society.

Going back to that uncomfortable moment in Bangladesh, Lorentzen initially thought Pavel was laughing; it turns out her lullaby, the moment, and the difficulty of his work had unlocked something in him.

“I think we are all the product of this patriarchal society,” she says. “I eventually realised that Imtiaz was crying and not laughing, and it was after that he told me the stories of the harassment he had suffered.”

It was the September 11 attacks on New York’s World Trade Center that pushed the Turkish-born and Oslo-based academic to make films exploring Islam.

“After 9/11, the whole world was shaking, so I decided I’m not going to be affected by these Islamists. I want to be loyal to my faith and I will get Islam back from these fundamentalists. That was my starting point to make films about Islam and gender.”

In Indonesia, Lorentzen meets with Syaldi Sahude, who organised a demonstration of men wearing skirts to try and disprove a prevailing misconception that provocative dresses by women invites rape. Although only five men joined, it became front-page news.

“This film is personal, I can’t say that I’m objective, but when I’m editing, I want people to be proud of the sentences that they are saying,” says Lorentzen. “The man in Indonesia is proud of what he says about violence and the source of violence and I can’t edit it, I also don’t want to make him look slapstick.”

There is a different tone to the scenes in Kuwait, where she meets with Naif Al Mutawa, the creator of The 99, the popular comic strip inspired by the 99 names of Allah.
“What he says he says without pointing a finger, he doesn’t say this is how a woman should be, or a man should be,” says the director. “He is a psychologist and so he builds his characters in a diverse way.”

Lorentzen also encounters Ihsan Eliaçic, the leader of a Turkey-based political movement called Anti-Capitalist Muslims.

“I’m very fascinated by them,” says the filmmaker. “They have different sects of Muslims on their executive committee and I was so amazed to see all these young men and women and how they are working for their community.”

ManIslam is the third film that Lorentzen has made about Islam and gender, the others are Gender Me (2008) and her more personal film A Balloon for Allah (2011). The director studied at the Bosphorus University in Istanbul, before moving to Oslo, Norway, where she is the main lecturer for documentary films at Nordland Art and Film School.

She says that the making of the films has strengthened her faith – but also changed her perspective.

“There is a reason that I make films. I want people to not look at each other in a sceptical way. People have a childish curiosity and they should be able to ask very simple questions to each other without any judgements. I love to question things and there is room in Islam that you can ask questions.”

After the Göteborg premiere, Lorentzen plans to take the film to other festivals, including one in Turkey. She also plans to submit the film to the Abu Dhabi Film Festival and Dubai International Film Festival.

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Throughout the 1950s, Tab Hunter reigned as Hollywood’s ultimate male heartthrob. In dozens of films – and in the pages of countless movie magazines – Tab’s astonishing looks and golden-boy sex appeal drove his fans to screaming, delirious frenzy, making him the prototype for all young matinee idols to come.

Bristling against being just another pretty face and wanting to be taken seriously, Tab was one of the few to be able to transcend pin-up boy status. He earned his stripes as an actor to become a major movie star and recording artist.

But throughout his years of stardom, Tab had a secret. Tab Hunter was gay, and spent his Hollywood years in a precarious closet that repeatedly threatened to implode and destroy him. Now, Tab’s dramatic, turbulent and ultimately inspiring life story has become an explosive documentary feature directed by Emmy award winning filmmaker Jeffrey Schwarz.

The film has the unique advantage of exclusive, unprecedented access to Tab Hunter himself who shares first hand, for the first time, what it was like to be a studio manufactured movie star during the Golden Age of Hollywood and the consequences of being someone totally different from his studio manufactured image. We will trace Tab’s dizzying rise to Hollywood super-stardom, his secret life in an era when being openly gay was unthinkable, and his ultimate triumph when the limelight finally passed him by.

Punctuating Tab’s on screen presence will be rare film clips and provocative interviews with friends and co-stars including John Waters, Clint Eastwood, George Takei, Debbie Reynolds, Robert Wagner, Portia de Rossi, Noah Wyle, Connie Stevens, Robert Osborne, and dozens more.

TAB HUNTER CONFIDENTIAL is an important piece of Hollywood’s hidden history that is more relevant than ever in today’s obsessive, star-driven, sexuality speculating media.

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