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Booking Theatrical film bookers may phone us on our toll-free line at 1 (800) 723-5522. All non-theatrical rental orders (e.g., art museums, college or university film societies, etc.) for feature films must be received in writing. Films should be ordered well in advance, giving alternate playdates whenever possible. All rental orders should include film title(s), playdate(s), film or video format desired, shipping and billing address(es), and your name and phone and fax numbers. Cancellations must reach us at least twenty (20) days before scheduled playdate; otherwise you are responsible for payment of shipping and handling fees. Non-Theatrical Rental Rates If an admission fee is charged, the rental fee indicated usually serves as the minimum guaranteed rental fee vs. a negotiable percentage of gross receipts (usually 50%), whichever is higher (e.g., if you gross $600 on a film rented at $150 vs. 50%, the total rental fee payable to The Cinema Guild is $300, or 50% of the $600 gross receipts). The minimum guaranteed rental fee must be paid in advance unless an institutional purchase order can be supplied, otherwise your booking cannot be confirmed and the print will not be shipped. A box-office report is to be completed and mailed to The Cinema Guild within twenty-four hours following your last screening, and an additional invoice will be issued for any overage due. Payment To insure confirmation of your rental or purchase order, we require either an institutional purchase order, or prepayment, unless other credit arrangements have been approved by The Cinema Guild. Film Damage Liability The rentor is responsible for any print damage beyond reasonable wear and tear and will be billed at current rejuvenation or replacement footage rates for any such damages. Shipping The rentor must pay for all shipping charges. Our 35mm and 16mm prints are shipped from a warehouse in New Jersey and videocassettes are shipped from a warehouse in New York City. Prints are usually shipped via United Parcel Service; air freight and other services are available at additional cost. Unless shipped to you collect, all films are shipped prepaid (shipping and handling charges are added to your invoice). All prints must be returned promptly after your last screening, prepaid, via United Parcel Service, or air freight, or via First Class Mail (16mm prints and videotapes only). Unless notified otherwise, all films should be returned to the designated shipping warehouse, and not to The Cinema Guild. The rentor is responsible for the film while in his/her possession as well as during return shipment. All 16mm films must be insured for a minimum of $500, and all 35mm films must be insured for a minimum of $2,000, so that you are financially protected in the event of loss or damage during return shipment. Be sure to retain your shipping order and/or insurance receipt in the event that you have to file a claim for loss or damage. Failure to return films in the manner prescribed above, or any delay in return of films, makes you liable for full replacement cost in the event of loss or damage while in your possession or during return shipment, or in the imposition of additional fees for late return. Please keep in mind that we often work with a limited print inventory on many of our feature film titles, so we are counting on your cooperation to return the prints promptly so the next rentor will not be inconvenienced. Publicity Materials Advertising and publicity materials leaflet printing masters, etc. Guild releases. Contact us for specific materials available. Copyright All films and videotapes distributed by The Cinema Guild are fully protected by U.S. Copyright. Copying, duplication, recording or transcription of films or videotapes is a violation of the U.S. Copyright Act and is prohibited. Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures in any medium. The FBI investigates allegations of criminal copyright infringement. Copyright © 2002 The Cinema Guild. Rental prices in this catalog supersede all previous listings. |
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OUT OF SIGHT |
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This offbeat feature documentary is part Western, part soap opera, part film noir, and part female buddy picture. Out of Sight incorporates interviews, cinéma-vérité sequences, and dramatic reenactments to tell the story of Diane Starin, a 34-year-old northern California cowgirl, and her rocky relationship with Herb Martin, a man in his sixties with whom she shares a love of horses. This intimate, unflinchingly honest, and continually surprising documentary reveals the dreams and difficulties of Diane as a young, thoroughly modern single woman, who also just happens to be blind, struggling for her independence amidst a real-life cast of colorful supporting characters. |
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| Directed by David Sutherland 1994, Color, 85 mins., 35mm film/video Rental: $150 | ||
| "Sutherland straps us in for a ride through the surreal soap opera...few Hollywood movies these days give as good a ride." Betsy Sherman, Boston Globe |
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Parting of the Ways |
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This controversial Cuban feature involves a Cuban mother, now living in Miami, who returns to Havana to visit her son and his family, whom she had abandoned ten years earlier. The psychological confrontations which ensue offer a sensitive analysis of the lejania, the distance or separation among members of the same family, created by the Cuban revolution. |
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| Directed by Jesus Diaz 1985, Color, 90 mins., 35mm film Spanish dialog with English subtitles Rental: $150 | ||
| ...as graceful and touching as anything from more experienced filmmaking nations... All foreign films should be this good. The Minnesota Daily |
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Patakin |
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This first Cuban musical transposes two characters from Yoruba mythology into present-day Havana, pitting the charming, sexy Shango, the Yoruba god of thunder (here, an irresistible bully who lives off of his wife) against the earnest, hard-working Ogun (in this version, a machinist at a nearby farming collective) in a comic/ heroic battle of wits that is half mythology and half Busby Berkeley. |
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| Directed by Manuel Octavio Gomez 1983, Color, 108 mins., 35mm film Spanish dialog with English subtitles Rental: $150 | ||
| "...a lively, silly, semi-nostalgic sendup of musicals, films and, surprisingly, considering its source, of the worker state. There's more music per minute than on MTV, more bikinis than during Easter Week at Ft. Lauderdale, more hoofing than A Chorus Line..." Variety |
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Rebellion in Patagonia |
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This classic of the Latin American cinema is based on actual historical events involving the brutal military suppression of a series of strikes during the early Twenties by rural workers in the southernmost province of Argentina. The film's narrative, set within a richly detailed social context and mounted as a colorful action film, features fascinating character studies of the main protagonists, including the anarcho-syndicalist leaders of the workers' movement and the ruthless military commander who realizes too late that he is merely a tool of the wealthy landowners. |
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| Directed by Hector Olivera 1974, color, 107 mins., 16mm film/video Spanish dialog with English subtitles Non-Theatrical Rental Only: $150 | ||
Secuestro: A Story of a Kidnapping |
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This feature documentary dramatizes the complex problem of kidnapping in Colombia, a country where the disparity between rich and poor has turned kidnapping for ransom into a virtual business, with a kidnapping occurring every seven hours. In 1985, 20-year-old Sylvia Motta, daughter of a wealthy industrialist, was kidnapped by ten armed men. Director Camila Motta, the victim's sister, recreates the harrowing three months during which Sylvia was chained to a bed while their father negotiated for her life. The film utilizes a montage of interviews, dramatic re-creations, still photos, slow motion, and actual recordings of the series of telephone negotiations between the kidnappers and the father. The result is a dramatically compelling portrait of the psychological torment experienced by the victim and her family and the ruthless but thoroughly professional criminal methods of her captors. |
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| Directed by Camila Motta 1993, Color, 92 mins., 16mm film/video Spanish dialog with English subtitles Rental: $150 | ||
| "..among the most creatively complex and insightful documentaries in recent years...gripping from start to finish." Thelma Adams, The New York Post |
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Sera Posible el Sur: Mercedes Sosa Sings |
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A profile of one of Latin America's leading musical artists, this film chronicles Sosa's 1984 national concert tour following her return to Argentina after years in exile. As she travels throughout the country, performing at concert halls, music festivals and isolated rural areas, concert footage is interspersed with breathtaking scenes of the Argentine countryside. |
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| Directed by Stefan Paul 1985, Color, 76 mins., 35mm film/video Spanish dialog with English subtitles Rental: $150 | ||
| "..a beautiful little film that sketches an impression of an inspiring artist and the many faces of her native Argentina...It contains some splendid music...a moving film about a singer who touches millions." San Francisco Chronicle |
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| "When Mercedes Sosa threw back her head and began to sing from the screen, I sat up. And when she hit those deep notes, the shivers started running down my back." New York Post |
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SEX and Other Matters of Life and Death |
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This award-winning documentary chronicles a year in the life of STAR Theater, a teenage theater company which uses drama to help young people avoid risks and grow up safely in the age of AIDS. The film combines intimate profiles of the young actors with scenes from their performances, poignantly revealing that the performers are struggling with the same coming-of-age problems in their own lives that they are addressing on stage. |
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| Directed by Roger Weisberg 1996, Color, 70 mins., 16mm film/video Rental: $125 | ||
| Audience Award for Best Film Philadelphia Festival of World Cinema | ||
Slam Nation |
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This feature-length documentary offers an exciting, inside look at the phenomenal growth of the spoken word movement and its latest manifestation as literary blood sport the Slam Poetry competition. Emmy Award-winning filmmaker Paul Devlin follows New York City's novice Slam Team as they journey to the National Poetry Slam in Portland, Ore-gon, where they engage in poetic battle with 120 performance poets from twenty-seven regional teams over four days of intensive elimination bouts. In the process, we enjoy not only the raw energy and remarkable talent of some of the greatest performance poets in the country, but a good old-fashioned tale of heroes and villains, Machiavellian strategizing, personal animosities, and fulfilling triumphs amidst the dramatic tension of fiery competition. |
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| Directed by Paul Devlin 1997, color, 91 mins., 16mm film and video Rental: Inquire | ||
| The drama is always full-flame. So is the comedy. The Los Angeles Weekly |
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| "...a pop-culture phenomenon. Roger Ebert, Chicago Sun-Times |
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| Fast, funny, furious and every now and then poignant. Fort Worth Star-Telegram |
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| The Woodstock of spoken word. Time Out New York |
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| Very Good If you've never considered poetry an exciting art, you'll be shocked into radical reevaluation by this white-knuckled portrait" Boxoffice |
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The Tables Turned |
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This romantic comedy portrays a typical young Cuban couple, sexually liberated, who nonetheless cannot cope with the affair between his mother and her father. The young woman comes around first, but the young man cannot accept what he considers scandalous behavior for a woman of fifty. The result is a series of misunderstandings and confusions which comment on the generation gap, machismo, and related themes. |
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| Directed by Rolando Diaz 1984, Color, 90 mins., 35mm film Spanish dialog with English subtitles Rental: $150 | ||
through the eyes of larry harlow |
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This lively documentary chronicles the development of salsa music in New York City during the 50s, 60s, and 70s through the experience of Larry Harlow, a Jewish-American musician from Brooklyn who became one of salsa's greatest stars. Harlow takes us from his childhood roots into the clubs and personalities of salsa's golden era the Catskills, the Cheetah, Arsenio Rodrâguez, Celia Cruz, the Fania All-Stars. The film also features interviews and commentary by such legendary performers as Cheo Feliciano, Santos Col÷n, Ismael Miranda, and Don Tite Curet Alonso. |
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| Directed by Orlando J. Guzman Colon 1998, color, 70 mins., video Rental: Inquire | ||
| "Thoroughly entertaining!" Katharine A. Diaz, Hispanic Magazine | ||
The Traitors |
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This compelling Argentine political thriller dramatizes the life of a trade union militant who is gradually corrupted as he rises within the union bureaucracy. Skillfully interweaving documentary and fictional sequences, the film traces over seventeen years of Argentina's most explosive political history. |
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| Directed by Raymundo Gleyzer 1973, Color, 109 mins., 16mm film Spanish dialog with English subtitles Rental: $150 | ||
| "...political cinema at its finest...a fine work of cinema." Catholic Film Newsletter |
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Twenty Years Later |
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In the early Sixties, the Brazilian peasant leader, Joao Pedro Teixeira, was assassinated by two gunmen hired by local landowners. Teixeira's story was being filmed as a docudrama when the 1964 military coup prevented the completion of the film. The entire crew was imprisoned and their equipment confiscated. Twenty years later, in a more democratic Brazil, director Eduardo Coutinho recovered his confiscated film and located the murdered peasant's widow and children. Coutinho's interviews with her and other peasant families are interwoven with sequences from the original docudrama to produce an unusually provocative historical film. |
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| Directed by Eduardo Coutinho 1984, Color, 119 mins., 35mm film/video Portuguese dialog with English subtitles Rental: $150 | ||
| An unusually poignant political and personal document- a movie that is one-of-a-kind. " Vincent Canby, The New York Times |
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| "Extraordinary...This is a rare and remarkable example of how film can capture a moment of history with all the intensity of the human drama involved." Judy Stone, The San Francisco Chronicle |
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vampires in havana |
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This feature-length animated cartoon for adults is a hilariously funny spoof of horror and gangster movies done up in an outrageously caricatured, bawdy style reminiscent of Fritz the Cat. The wacky plot involves Professor von Dracula, a vampire scientist who leaves Transylvania for Cuba where he invents "Vampisol," a potion that allows vampires to survive in sunlight. When the Professor announces his intention to donate his formula free of charge to vampires all over the world, the European group of vampires from Dusseldorf and the Vampire Mafia from Chicago try to steal the formula. The ensuing action escalates crazily as assorted bad guys, police, vampires and other monsters, musicians, tourists, and our hero are all caught up in the chase. |
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| Directed by Juan Padron 1985, Color, 80 mins., video only Spanish dialog with English subtitles Rental: $95 | ||
| "An animated fun and fang fest...a toothy treat for horror, comedy and animation buffs alike." New York Daily News |
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| "A fast-paced, broad comedy with enough bawdy and genuinely funny humor to entertain older audiences." The Hollywood Reporter |
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VOICES OF THE CHILDREN |
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This documentary tells the story of three people imprisoned as children in Terezin, a WWII Nazi concentration camp for Central European Jews, many of whom were eventually shipped to Auschwitz and other extermination centers. Zuzana Justman, the filmmaker, herself spent two years in Terezin, so her film conveys an unusually personal quality. Interviews with the Terezin survivors, filmed in their homes and with their families in the U.S., Austria and the Czech Republic, are blended with excerpts from their diaries and drawings from the wartime years. |
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| Directed by Zuzana Justman 1996, Color, 80 mins., 16mm film/video Rental: $150 | ||
DOUBLE LOWFAT LATTE LOVE |
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Tamara, a tragically hip young woman, is caught up in a superficial world of hot coffee and steamy romance. When her dreamboat, Raif, walks into her life and sweeps her off her feet, she thinks she has it all cappuccino galore, cool clothes and a wicked boyfriend. Unfortunately, Raif sees things differently. |
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| Directed by Jennifer Hinkey 1995, Color, 9 mins., 16mm film/video Rental: $25 | ||
the hero |
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Max decides to hold up the local deli. It's late, few people are around it's an easy target. Or so he thinks, as one thing after another goes wrong for poor Max. |
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| Directed by James Mairata 1995, Color, 9 mins., video only Rental: $25 | ||
MICHELLE'S THIRD NOVEL |
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A young novelist, suffering from a bad case of writer's block, and on the verge of blowing a fuse, discovers a shocking new means of artistic inspiration. |
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| Directed by Karryn de Cinque 1995, Color, 5 mins., 35mm film/video Rental: $25 | ||
monas pets |
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In this visually inventive comedy, Ra-mona, a "punked-out" older sister, unexpectedly returns home to her mother and two young brothers. None of them, however, are aware that her luggage is filled with cockroaches, and the resulting roach invasion becomes a catalyst for changing this comically dysfunctional family. |
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| Directed by John D. Allen 1992, color, 32 mins., 16mm film/video Rental: $50 | ||
pArts |
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A hungry diner visits a new restaurant with an unusual bill of fare. After being served his order, however, his selection is criticized by the waiter, the bus boy, and another customer, and our befuddled diner opts for another dish he hopes will be less controversial. |
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| Directed by Tom Whitus 1997, color, 8 mins., 16mm film/video Rental: $25 | ||
REIGN OF THE DOG: a re-visionist history |
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This provocative animated film, featuring a voracious mongrel dog and an evocative synthesizer score by Kasandra Woodring, uses allegorical and documentary images, maps and texts to explore and deconstruct the history of the conquest of the Americas. |
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| Animated and directed by Ruth Hayes 1995, Color, 16 mins., 16mm film/video Rental: $35 | ||
SULLIVAN'S LAST CALL |
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A sexy little film about celibacy. Sullivan, a Manhattan artist, and a conservative old flame return to her apartment after their first date in six years. After an unexpected kiss, he announces that he is celibate... for "spiritual reasons." Sullivan isn't buying it, however, because she knows him too well. Armed with scotch, cigarettes and sexual fearlessness, she chips away at his intellectual armor, with results neither of them bargained for. |
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| Directed by Fran Rizzo 1995, B&W, 18 mins., 16mm film/video Rental: $35 | ||