Diptych

The creative processes of avant-garde composer Philip Glass and progressive director/designer Robert Wilson are examined in this film. It documents their collaboration on this tradition breaking opera.

Although he is unanimously credited with having democratised opera, making it accessible to the greatest number, focus is rarely put on the strategy he devised and implemented in order to carry out his actions, nor what his actions reveal of the man and artist, and of the resulting metamorphosis from opera singer to pop artist. Through this angle, this film sets out to pay tribute to the man who summed up his credo, obsession and life’s work, in the following way: “They led the public to believe that classical music belonged to a restricted elite. I was the way to prove to the world that was wrong.

Thomas Haemmerli is about to celebrate his fortieth birthday when he learns of his mother's death. A further shock follows when he and his brother Erik discover her apartment, which is filthy and full to bursting with junk. It takes the brothers an entire month to clean out the place. Among the chaos, they find films going back to the 1930s, photos and other memorabilia.

The life and work of stage designer ADOLPHE APPIA, originator of the most profound agitations in contemporary theatre. Through the dynamic alternation of animated drawings and choreographies specially conceived for the film, we discover the steps of his artistic evolution.

Cats are cuddly felines and lovely pets, but also highly evolved predators that hunt huge amounts of small mammals, birds and reptiles; perfect killing machines that threaten delicate ecosystems around the world.

In the spotlight of global media coverage, the first transgender woman ever to perform as Don Giovanni in a professional opera, makes her historic debut in one of the reddest states in the U.S.

A feature-length documentary about the overpopulation of cats across the five boroughs of New York City. As advocates, rescuers, and animal welfare organizations call for the City of New York to invest in accessible low-cost veterinary care, this film explores the existing systems that have allowed the overpopulation of cats across the city.

A behind-the-scenes look at the of how the Paris Opera is run under the direction of Stephane Lissner.

Director Scheffer registered a performance of the Tea Opera by Chinese composer Tan Dun (who won an Oscar in 2001 with his score for Crouching Tiger, Hidden Dragon). Scheffer interlaces the images with interviews with Dun, stage director Pierre Audi and librettist Xu Ying, about the opera and the role tea and oriental philosophy play in this work. Using monochrome, sometimes abstract images (in yellow, blue, red and green), close-ups of plants and flowers and images of the Chinese nature and people (sometimes accelerated or decelerated, sometimes in black-and-white), he mirrors the stylised opera performance and Dun's reflective music.

Edie Bouvier Beale and her mother, Edith, two aging, eccentric relatives of Jackie Kennedy Onassis, are the sole inhabitants of a Long Island estate. The women reveal themselves to be misfits with outsized, engaging personalities. Much of the conversation is centered on their pasts, as mother and daughter now rarely leave home.

A breathtaking adventure across five continents and through time to reveal nature's most vital secret. Watch a flying fox gorge itself on a midnight snack of figs. Climb into the prickly jaws of insect-eating plants. Witness a mantis disguised as a flower petal lure its prey to doom.

Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.

The film follows the staging of the opera Olimpiade while at the same time exploring the dramatic life of its composer Josef Mysliveček, a friend and teacher of W. A. Mozart.

A young couple battle entrenched tradition and hostile forces to bet on nature for the future of their failing, four-hundred-year-old estate. Ripping down the fences, they set the land back to the wild and entrust its recovery to a motley mix of animals both tame and wild, beginning a grand experiment.

Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.