A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into Cameraperson, a tapestry of footage collected over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative. A hybrid work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker's personal journey and a thoughtful examination of what it means to train a camera on the world.
Artificially intelligent machines are taking over. They’re influencing our everyday lives in profound and often invisible ways. They can read handwriting, interpret emotions, play games, and even act as personal assistants. They are in our phones, our cars, our doctors’ offices, our banks, our web searches... the list goes on and is rapidly growing ever longer. But how does today’s A.I. actually work—and is it truly intelligent? And for that matter, what is intelligence? The world’s brightest computer programmers are trying to build brighter machines by reverse-engineering the brain and by inventing completely new kinds of computers, with exponentially greater speed and processing power. The documentary looks at how far we’ve come and where machines are headed as their software becomes ever more... cerebral. How close are we from a world in which computers take over—from diagnosing cancer to driving our cars to targeting weapons? If we place more and more of our lives under the control of these artificial brains, what are we putting at risk?
Are rising temperatures driving Earth's ecosystems past a point of no return? We have promising technologies that put solutions within our grasp. Scientists are exploring solutions: from geoengineering to sucking carbon out of the air to cloud brightening, as means to cool the planet. Cutting-edge solutions and high-risk measures. But would they work? And what are the risks of engineering Earth's climate?
Michael Moore returns to controversial territory with this documentary examining the events that led to the last global financial crisis, while putting forward an indictment of the current economic order in the United States and unfettered capitalism in general. Topics covered include Wall Street's "casino mentality", for-profit prisons, Goldman Sachs' influence in Washington, D.C., the poverty-level wages of many workers, the large wave of home foreclosures, corporate-owned life insurance, and the consequences of "runaway greed".
In February 2009, Michael Moore issued an appeal to people who worked for Wall Street or in the financial industry to share first hand information, requesting, 'Be a hero and help me expose the biggest swindle in American history'. He uncovers the social costs of corporate interests pursuing profits at the expense of the public good.
The film captures the global challenge to lead the clean energy future by profiling U.S. and Chinese workers and business leaders who are racing to make crucial breakthroughs in the field. Catching the Sun debunks a false dilemma that clean energy requires sacrificing economic prosperity. Through the stories of an unemployed American worker, a Tea Party activist, and a Chinese solar entrepreneur, we will explore the global energy transition from the perspective of workers and entrepreneurs building solutions to income inequality and climate change with their own hands. Their successes and failures speak to one of the biggest questions of our time: will the countries actually be able to build a clean energy economy?
A hybrid work that combines documentary, autobiography, and ethical inquiry, Cameraperson is both a moving glimpse into one filmmaker's personal journey and a thoughtful examination of what it means to train a camera on the world.