BURDEN OF DREAMS

(1982) Director: Les Blank

DVD
NETFLIX

SUMMARY:

An extraordinary feature-length documentary about the messianic German director Werner Herzog struggling against desperate odds in the Amazon basin to make his epic feature, Fitzcarraldo. Burden of Dreams was honored with a British Academy Award for Best Documentary of 1982, and many critics consider it Blank's most awesome film. - lesblank.com

VIDEO: SCENE FROM BURDEN OF DREAMS


REVIEWS, INTERVIEWS, CREDITS:

• Video interview with director Les Blank from independentfilm.com
• "Les Blank's "Burden of Dreams" is one of the most remarkable documentaries ever made about the making of a movie." Roger Ebert review
• "If Les Blank's jaw-dropping documentary Burden Of Dreams hadn't been first out of the box, its title might have applied to several subsequent making-of films, most notably 1991's Hearts Of Darkness (about Francis Ford Coppola's famously troubled production of Apocalypse Now) and 2002's Lost In La Mancha (about Terry Gilliam's aborted Don Quixote project)." AV Club review
• GreenCine interview with Les Blank
  

NOTES:

• Fitzcarraldo was shot on location deep within the rain forests of South America, one thousand miles from civilization. When the first version of the film was half-finished, its star, Jason Robards, was rushed back to New York with amoebic dysentery and forbidden by his doctors to return to the location. Herzog replaced Robards with Klaus Kinski (star of his "Aguirre, the Wrath of God"), but meanwhile, co-star Mick Jagger left the production because of a commitment to a concert tour. Then the Kinski version of "Fitzcarraldo" was caught in the middle of a border war between tribes of Indians. The whole production was moved twelve hundred miles, to a new location where the mishaps included plane crashes, disease, and attacks by unfriendly Indians. And all of those hardships were on top of the incredible task Herzog set himself to film: He wanted to show his obsessed hero using teams of Indians to pull an entire steamship up a hillside using only block and tackle.
  
• Stanley Kauffmann, in the New Republic, argued that, for Herzog, the purpose of film is to risk death, and each of his films is in some way a challenge hurled at the odds. Herzog has made films on the slopes of active volcanoes, has filmed in the jungle and in the middle of the Sahara, and has made films about characters who live at the edges of human achievement. - rogerebert.com
  

JIMI PLAYS MONTEREY & SHAKE! OTIS AT MONTEREY

(1989) Director: D.A. Pennebaker

DVD
NETFLIX

SUMMARY:

Jimi Hendrix and Otis Redding arrived at California's Monterey International Pop Festival virtually unknown. Returning stateside from London, where he had moved to launch his musical career, Hendrix exploded onstage, flooring an unsuspecting audience with his maniacal six-string pyrotechnics. Redding, a venerable star of Memphis's Stax record label, seduced the "love crowd" in one of his best--and last-- shows. Jimi Plays Monterey and Shake! Otis at Monterey, acclaimed documentarian D. A. Pennebaker's Monterey Pop companion pieces, feature the entire sets by these legendary musicians, performances that have entered rock-and-roll mythology. - The Criterion Collection

VIDEO: FULL FEATURES

Jimi Plays Monterey



Shake! Otis at Monterey

REVIEWS, INTERVIEWS, CREDITS:

• Excerpt from Time magazine interview with director D.A. Pennebaker:

TIME: I understand that you had similar distribution problems with Monterey Pop, your film about the music festival, featuring breakout performances by Janis Joplin and Jimi Hendrix.

Yes. I put that in a porn house on [Manhattan's] Lower East Side. It was the only theater I could get. It ran for a year. People would come. In fact, the same people would come every Friday — and they'd all be smoking grass in the johns. The guy who ran the theater was so happy. He was making money left and right. He didn't want it to ever stop.

TIME: In that film, you recorded the now legendary footage of Hendrix's first major American concert. What was the mood in the audience like when he played?

John Phillips [of the Mamas and the Papas] had told me ahead of time, "There's this great blues player and he sets his guitar on fire." I didn't know what to expect. For some people there, his performance was noise and it upset them. In the first three or four minutes, it was noise to me, too. I didn't know what to think of it. I did know that we needed to shoot everything he did. We knew that this was different and that it was something amazing and historic.

TIME: Why do you avoid the use of narration and on-camera interviews in your films?

Really, I'm trying to be Ibsen. That's my secret hope: that I could somehow turn into [the playwright Henrik] Ibsen. There are things happening all the time to real people. You don't have to enact them or write them. I'm trying to make a play, not an educational device.

TIME: There's a dictum in anthropology that the observer changes the behavior of the observed. Have you been in situations where you felt that your presence was really affecting things?

Not a lot. Your attitude towards the camera determines that. If you're setting up lights and tripods and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different. I've left it on the floor. Sometimes, I'll shoot with it on my lap. Other times, I'll put it on a table and turn it on. You don't make it a big issue.

• Washington Post review
• NY Times review

NOTES:

• The movies compile unreleased film of Jimi Hendrix and Otis Redding that had been shot for the rock documentary ''Monterey Pop.''
• When Jimi Hendrix performed at the Monterey Pop Festival, the revolutionary rock guitarist was only 24 years old. A sensation in England where he had formed his trio, the Jimi Hendrix Experience, he was still virtually unknown in the United States. The festival, at which he set fire to his guitar and smashed it to pieces, helped put him on the map in America.
• Otis Redding, who was only 25 years old when he appeared at the Monterey festival, died in a plane crash six months later. Less than three years later, Jimi Hendrix died a drug-related death. He was 27.

WHEN WE WERE KINGS

(1996) Director: Leon Gast

DVD
NETFLIX

SUMMARY:

In 1974, boxers Muhammad Ali and George Foreman came to the still-emerging and politically unstable African nation of Zaire for what Ali called the "Rumble in the Jungle," a highly publicized world heavyweight championship fight. Documentarian Leon Gast flew to Zaire to film both the fight and a music festival (featuring B.B. King, The Pointer Sisters, and Miriam Makeba) organized by promoter Don King. Gast's footage was shelved for 22 years due to legal and financial problems, but when it was finally released in 1996, When We Were Kings provided a vivid portrait of the controversial Ali. At 33, he was considered past his prime for the Zaire fight, and his refusal to serve in the U.S. military on moral grounds was still an issue in the minds of many. But here, Ali displays strength, skill, intelligence, and tremendous charm, making it clear how he became one of the most renowned figures in the world of sports. And, while George Foreman is best known today as a genial commercial pitchman, he's seen here as a strong, forbidding opponent, not especially articulate and seemingly unstoppable. The film also features interviews with several notable fight fans, including Norman Mailer, George Plimpton, and Spike Lee. A fascinating document of a great moment in sporting and cultural history, When We Were Kings was nominated for an Academy Award as Best Documentary Feature and won a Special Jury Recognition Prize at the Sundance Film Festival. - Mark Deming, All Movie Guide

VIDEO: FULL FEATURE



REVIEWS, INTERVIEWS, CREDITS:

• At the Movies with Siskel & Ebert Review (VIDEO)
• Salon.com essay
• Variety.com review

NOTES:

• The film won the Academy Award for Best Documentary Feature. At the presentation, both Ali and Foreman came up to join the filmmakers to make it clear they had long made peace since that match.
• Though almost all of the footage in this documentary was shot by producer/director Leon Gast in 1974, one reason it took 22 years to complete was because the negative and rights to the film were entangled in civil suits involving the Liberians who financed the movie's making.
• This is the only film containing footage of the "black Woodstock" soul music festival accompanying the fight.

MICHELANGELO ANTONIONI DOCUMENTARIES

DIRECTOR: Michelangelo Antonioni

SUMMARY:

Before gaining fame for his films L'Avventura (1960), La Notte (1961), L'Eclisse (1962), Blow-Up (1966), and The Passenger (1975) Michelangelo Antonioni began his career making documentaries.

From The Films of Michelangelo Antonioni by Peter Brunette:

...it is during this period that Antonioni's special fascination with vision and the nature of the look seems to have ripened. (Significantly, his Cinema article, "Toward a Film on the River Po," contained nine photographs, four of them half-page in size, even before the film was shot; in the finished documentary itself, information is often conveyed in purely visual terms, rather than through the more conventional means of the voice-over.) Antonioni later told an interviewer that once he began looking at objects with the intention of making a film, everything changed:
"The things themselves were claiming a different attention, acquiring a different significance. Looking at them in a new way, I was taking control of them. Beginning to understand the world through the image, i was understanding the image, its force, its mystery.
As soon as it was possible for me to do so I returned to those places with a camera. This is how People of the Po Valley was born. Everything that I did after that, good or bad as it was, started from there."
Immediately after the war, Antonioni worked for a while as a translator, film critic, and scriptwriter (he wrote two unproduced scripts for Visconti) and made a magnificently photographed nine-minute documentary called N.U. - Nettezza Urbana. A study of the men who clean the streets and gather the garbage in Rome, the film poetically documents the magnificence of the early morning in the city. It won an important critics' prize in 1948.
Next followed several other shorts such as L'amorosa menzogna (Lies of love, 1948-9), a film that humorously and ironically describes the gap between the glamorous lives of photoromance stars - all the rage at the time - and their real lives, and Superstizione (Superstition, 1949), which documents the superstitious customs still to be found among rural folk. About the same time, he wrote a treatment for Lo sceicco bianco (The White Sheik), based on the same idea L'amorosa menzogna, which was made into a film by Fellini in 1952. Three more made-to-order shorts came in 1949 and 1950, including a documentary on the production of rayon, another on the cable car that runs to Cortina d'Ampezzo in the Dolomites skiing area, and the third on the Villa dei Mostri, a Renaissance garden featuring grotesque figures carved in the rocks.
The urge to document everyday life that appears in all of these films is not surprising given the fact that Antonioni came into his cinematic maturity during the heyday of neorealism, the most famous movement in Italian cinema history.

VIDEO:

Gente del Po (1947)



Superstizione (1948)



Sette canne, un vestito (1949)



REVIEWS, INTERVIEWS, CREDITS:

• The Eclipse of Antonioni (Article on the life of Michelangelo Antonioni from The Sun)
• Essay on the work of Antonioni by Senses of Cinema
• A talk with Michelangelo Antonioni on his work (1962 interview from Film Culture)
• Documentaries directed by Antonioni:

1. Gente del Po (People of the Po Valley) (1947)
2. N.U. - Nettezza urbana (Sanitation Department) (1948)
3. Superstizione - Non ci credo! (Superstitions) (1948)
4. L'Amorosam menzogna (Lies of Love) (1949)
5. Sette canne, un vestito (Seven Reeds, One Suit) (1949)
6. La Villa dei mostri (The Villa of the Monsters) (1950)
7. La Funivia del Faloria (The Funicular of Mount Faloria) (1950)
8. Chung Kuo Cina (Chung Kuo China) (1972)
9. Ritorno a Lisca Bianca (Return to Lisca Bianca) (1983); segment of Falsi Ritorni (Fake Returns)
10. Kumbha Mela (1989)
11. Roma (1990); segment of 12 Autori per 12 Città (12 Authors for 12 Cities)
12. Noto, Mandorli, Vulcano, Stromboli, Carnevale (1992)

NOTES:

• Before he moved to Rome (sometime around 1940), Antonioni attempted to make a documentary at a local insane asylum. When the set was lit, the patients suddenly responded with convulsions and the film was aborted.
• Antonioni's first documentary concerned the inhabitants of the Po valley region near Ferrara. Shot in 1943, Gente del Po was not released until after the war in 1947. In the interim, the bulk of the footage was lost through degradation, accident, and, possibly, deliberate tampering. Still, he displayed an early resilience and determination to complete the film, a trait that would resurface on numerous occasions in the future.
• On the strength of his documentaries, Antonioni secured financing from Vallani Film to make his first fictional feature in Milan.

DANCIN OUTLAW

(1991) Director: Jacob Young

DVD

SUMMARY:

Nestled deep within the heart of the mountains of Boone County, West Virginia reigns a King. The King - Jesco White, The Dancing Outlaw. Jesco is a living legend. The last of the Mountain Dancers, his style is unique to the mountain culture. Resembling tap dancing, it's a tradition passed down from father to son - as were his dancing shoes. His dance floor? An 8 by 4 piece of plywood or the roof of his canine companion Duke's doghouse.
His venue? The front yard, the den of Jesco's and Norma Jean's trailer, or any place the spirit moves.
But dancing isn't the only phenomenon that emanates from the cabin. On quiet nights, legend has it, you can hear the echoes of vintage Elvis tunes careening off the walls of Jesco's Elvis room and through the mountains of Boone county. Jesco belts out Elvis tunes as only a true King can. It's a beautiful thing, man.
Jesco's unique mountain wisdom and talents (and tattoos) have not gone unnoticed. His jewels of wisdom are downright profound. His talents have made him the subject of two documentary films and scored him an appearance with Dweezil Zappa ("Weezil" as Jesco puts it) as a country cousin on the "The Roseanne Show." (The tattoos were a big hit, just ask Tom Arnold.)

In the end, Elvis, the King, is the first royalty of rock'n'roll.
Jesco, the King, is the Dancing Outlaw, the last of the mountain dancers.

- www.juliescoggins.com

VIDEO: FULL FEATURE



REVIEWS, INTERVIEWS, CREDITS:

• Austin Chronicle interview with director Jacob Young

NOTES:

• As the popularity of Dancing Outlaw grew, Jesco White was asked by comedian Tom Arnold to perform on the television show Roseanne. He traveled to Los Angeles for the performance, which was chronicled in the 1994 short film Dancing Outlaw 2: Jesco Goes To Hollywood - also directed by Jacob Young.
• Jesco has been linked to many popular artists through song. Big and Rich mention his name in their single "Comin' to Your City," although Jesco is not a fan and feels as if they are capitalizing on his name. Hank Williams III wrote the song "Legend of D. Ray White," which honors the cultural significance of Jesco's father. It also mentions Jesco, as well as another legendary Boone County artist, Hasil Adkins, and Jesco's sister Mamie White. Jesco also dances on the Hank Williams III song "Louisiana Stripes."
• A short clip of Jesco dancing can be seen in Beck's "Loser" music video.
• "I enjoyed myself from within myself on behalf of myself" - Jesco
• "My past is coming up into my future and messing with my good life" - Jesco
• Official site
• Jesco White's MySpace page

MY VOYAGE TO ITALY

(1999) Director: Martin Scorsese

DVD
NETFLIX

SUMMARY:

My Voyage to Italy (Italian: Il mio viaggio in Italia) is a personal documentary by acclaimed Italian-American director Martin Scorsese. The film is a voyage through Italian cinema history, marking influential films for Scorsese and particularly covering the Italian neorealism period.
The films of Roberto Rossellini make up for half the films discussed in the entire documentary, dealing with his seminal influence on Italian cinema and cinema history. Other directors mentioned include Vittorio de Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni.

VIDEO: FULL FEATURE



REVIEWS, INTERVIEWS, CREDITS:

• BBC audio interview excerpts:

1. The first film he saw at four years old
2. The importance of people and their emotions in his pictures
3. Being at NYU and knowing he was going to be a director
4. Where he got the new style for Good Fellas and the story behind the film
5. The violence in his films and how autobiographical his work is
6. Why he thought Raging Bull would be his last film
7. Which of his films has pleased him most and which has disappointed him

• Slant Magazine review
• LA Times review
  
• Essay on Scorsese from Senses of Cinema
• Jim Jarmusch interviews Martin Scorsese about his documentary work
  

NOTES:

• "The more films I made, the more I realized what an indelible mark Italian cinema had left on me." - Martin Scorsese
• Some of Scorsese's favorite directors at work (PHOTO)

LUMIERE & COMPANY

(1995) Directors:

Sarah Moon, Merzak Allouache, Gabriel Axel, Vicente Aranda, Theo Angelopoulos, Bigas Luna, John Boorman, Youssef Chahine, Alain Corneau, Costa-Gavras, Raymond Depardon, Francis Girod, Peter Greenaway, Lasse Hallström, Michael Haneke, Hugh Hudson, Gaston Kaboré, Abbas Kiarostami, Cédric Klapisch, Andrei Konchalovsky, Patrice Leconte, Spike Lee, Claude Lelouch, David Lynch, Claude Miller, Idrissa Ouedraogo, Arthur Penn, Lucian Pintilie, Jacques Rivette, Helma Sanders-Brahms, Jerry Schatzberg, Nadine Trintignant, Fernando Trueba, Liv Ullmann, Yoshishige Yoshida, Jaco Van Dormael, Régis Wargnier, Wim Wenders, Zhang Yimou

DVD
NETFLIX

SUMMARY:

To commemorate the centennial of the Lumiere brothers' first "motion picture," David Lynch, Spike Lee, Wim Wenders, Zhang Yimou, John Boorman, Arthur Penn, Peter Greenaway, Claude LeLouch, Costa Gavras, James Ivory and a host of leading international filmmakers created their own one-minute Lumiere film. Using the restored original camera, each director offered his own signature style to the film. Sandwiched between these 40 exciting, eclectic shorts are intriguing interviews with the filmmakers. A must-see for all movie fans, Lumiere & Company speaks for the passion, beauty and visionary dream of this 100-year-old art form. - Facets

VIDEO:

Abbas Kiarostami



David Lynch



Arthur Penn



More on YouTube

REVIEWS, INTERVIEWS, CREDITS:

• Roger Ebert review

NOTES:

• Shorts were edited in-camera and abided by three rules:

1. A short may be no longer than 52 seconds
2. No synchronized sound
3. No more than three takes

DAVE CHAPPELLE'S BLOCK PARTY

(2005) Director: Michel Gondry

DVD
Netflix

SUMMARY:

Dave Chappelle presents a Brooklyn neighborhood with its very own once-in-a-lifetime free block party. In addition to Chappelle, the roster of artists includes Kanye West, Mos Def, Talib Kweli, Common, Dead Prez, Erykah Badu, Jill Scott, the Roots, Cody ChesnuTT, Big Daddy Kane, and - reunited for their first performance in over seven years - the Fugees. Includes private rehearsals footage and Chappelle in the small Ohio town he calls home, where he wanders through town handing out golden tickets to invite several dozen citizens to join the party, providing transportation and lodging for their visit to Brooklyn. Ohio's Central State University marching band makes the trip and kicks off the festivities at the intersection of Quincy and Downing Streets. A diverse crowd and Chappelle's freestyle wit guides them (and us) through a celebration of music and comedy, history and community. - Focus Features

VIDEO: CLIPS



More at Hulu.com

REVIEWS, INTERVIEWS, CREDITS:

• Interview with Michel Gondry about Block Party from FilmJerk.com
• Another interview from SuicideGirls.com
• MTV.com article about Block Party
  
• Roger Ebert's review
• Entertainment Weekly review
• Some of Michel Gondry's other work includes: Human Nature (2001), Eternal Sunshine of the Spotless Mind (2004), Be Kind Rewind (2008)

NOTES:

• In this IGN interview, Dave Chappelle remarks that he has "entertained the idea of doing a sequel, and like all sequels, we would just try to do it bigger and better. I have an idea but I'm scared to publicly pitch it. But I'll tell you this: it has been discussed, and I think it would be spectacular."
• Block Party's format is inspired by the documentary Wattstax.
• The concert was nine hours long.
• Dave Chappelle funded Block Party with his own money.
• Soundtrack available here or listen online
• Official site

MAN WITH A MOVIE CAMERA

(1929) Director: Dziga Vertov

DVD
NETFLIX

SUMMARY:

Vertov's feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters," they are the cameraman of the title and the modern Soviet Union he discovers and presents in the film.
This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles). - Wikipedia

VIDEO: FULL FEATURE



REVIEWS, INTERVIEWS, CREDITS:

• Essay on Dziga Vertov by Senses of Cinema
• Reviews Of The Rare And Obscure By John DeBartolo
• Futurism, Formalism and Communism in Dziga Vertov's The Man with a Movie Camera
• The Man With the Movie Camera: The Film Companion (Book)

NOTES:

• Vertov's message about the prevalence and unobtrusiveness of filming was not yet true—cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman had to distract the subject with something else even louder than the camera filming them.
• The film features a few obvious stagings such as the scene of the woman getting out of bed and getting dressed (cameras at the time were fairly bulky and loud, and not surreptitious) and the shot of the chess pieces being swept to the center of the board (a shot which was spliced in backwards, causing the pieces to expand outward and stand into position). The film was criticized for both the stagings and its stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses."
• Dziga Vertov, or Denis Arkadevich Kaufman, was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kinokis. Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. This being said, most of Vertov's films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov's crowning achievement, Man with a Movie Camera was his response to the critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov's overuse of "intertitles" was inconsistent with the code of film-making that the 'kinos' subscribed to.
• Because of the doubts before screening, and the great anticipation which came from Vertov's pre-screening statements, the film had gained a colossal interest before it was even shown. Once the film was finally screened, the public either embraced or dismissed Vertov's stylistic choices. Working within a Marxist ideology, Vertov strove to create a futuristic city that would serve as a commentary on existing ideals in the Soviet world. This artificial city’s purpose was to awaken the Soviet citizen through truth and to ultimately bring about understanding and action. The kino’s aesthetic shined through in his portrayal of electrification, industrialization, and the achievements of workers through hard labour. This could also be viewed as early modernism in film.
• The film anticipates many of the techniques used 50 years later in Koyaanisqatsi (1982).

F FOR FAKE

(1974) Director: Orson Welles

DVD
NETFLIX

SUMMARY:

Trickery. Deceit. Magic. In Orson Welles’s free-form documentary F for Fake, the legendary filmmaker (and self-described charlatan) gleefully engages the central preoccupation of his career—the tenuous line between truth and illusion, art and lies. Beginning with portraits of world-renowned art forger Elmyr de Hory and his equally devious biographer, Clifford Irving, Welles embarks on a dizzying cinematic journey that simultaneously exposes and revels in fakery and fakers of all stripes—not the least of whom is Welles himself. Charming and inventive, F for Fake is an inspired prank and a searching examination of the essential duplicity of cinema.

VIDEO: FULL FEATURE



REVIEWS, INTERVIEWS, CREDITS:

• 'F for Fake' Is an Illusionist's Trick With Bogus Heroes and Expert Villains (NY Times article)
• F for Fake: The Ultimate Mirror of Orson Welles (Robert Castle)
• A Retrospective by Peter Bogdanovich (VIDEO)
• Review from AV Club
• Review from Not Coming To A Theater Near You

NOTES:

• The last major film completed by Orson Welles
• F for Fake faced widespread popular rejection in the director's home country upon its release, though it fared better commercially in Europe.[citation needed] Critical reaction ranged from praise to confusion and hostility, with many finding the work to be indulgent or incoherent. F for Fake has, however, grown in stature over the years and is now often considered not only a film classic, but a precursor to modern editing techniques as well as a popularizer of more avant-garde methods.[citation needed] As the film embraces everything from self-conscious notation of the film process, to ironic employment of '50s-era B-movie footage, Welles in essence was creating not so much a documentary as a "new kind of film," as he once told writer Jonathan Rosenbaum. - Wikipedia
• An excerpt of Welles' 1930s War of the Worlds broadcast was recreated for this film, however none of the dialogue heard in the film actually matches what was originally broadcast.
• Actress Oja Kodar, who appears in a muse-like fashion in this film, was Welles' real-life girlfriend at the time.
• Hidden within a montage of footage of Howard Hughes is one brief shot of a man disembarking from a ship who looks similar to Hughes, but is actually actor Don Ameche.
• Wells filmed a trailer that lasted for almost five minutes and featured several shots of a topless Oja Kodar. The trailer was rejected in the U.S. as it was deemed to long and over-indulgent. - IMDB