简介：瓦尔特·梅尔卡多是一位雌雄莫辨的著名占星家。几十年来，他的奢侈作风和积极的态度使 1.2 亿拉美裔观众为之着迷。后来，他从大众的视线之中消失了。《Mucho Mucho Amor》由获奖的纪录片导演克里斯蒂娜·科斯坦蒂尼（《科学展览会》）和卡里姆·塔布舍（《最后的圣地》）共同执导，并由亚历克斯·富梅罗（《蒂姆·罗宾逊短剧：还不快走》）担任制片人。
简介：Dutch immigrant, Harry deLeyer, journeyed to the United States after World War II and developed a transformative relationship with a broken down Amish plow horse he rescued off a slaughter truck bound for the glue factory. Harry paid eighty dollars for the horse and named him Snowman. In less than two years, Harry Snowman went on to win the triple crown of show jumping, beating the nations blue bloods and they became famous and traveled around the world together. Their chance meeting at a Pennsylvania horse auction saved them both and crafted a friendship that lasted a lifetime. Eighty-six year old Harry tells their Cinderella love story firsthand, as he continues to train on today's show jumping circuit.
简介：Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.