The World Population

ROME, OPEN CITY is a landmark in film history. Filmed in secrecy during the Nazi occupation of Italy, the film shows a realistic portrayal of the underground resistance in Italy in 1945. The film has strong impacting imagery with its mix of fiction and reality that strengthened Italian Neo-realism and the film industry.

In this evocative, atmospheric biography, Roberto Rossellini brings to life philosopher and mathematician Blaise Pascal, who, amid religious persecution and ignorance, believed in a harmony between God and science.

Cardinal Mazarin dies, leaving a power vacuum in which the young Louis asserts his intention to govern as well as rule. Mazarin's fiscal advisor, Colbert, warns against Fouquet, the Superintendant who has been systematically looting the treasury and wants to be prime minister. Fouquet believes Louis will soon tire of exercizing power and overplays his hand by offering a bribe to Louis' mistress to be his ally. She reports this to the king who arrests Fouquet. Louis and Colbert design a brilliant strategy to keep merchants making money, nobles in debt, the urban poor working and fed, and peasants untaxed. Years later, in a coda, we see Louis exercizing the power of the sun.

The tale of two fish in love, threatened by an octopus and saved by an eel.

This consists of four short films by different directors. Rosselini's 'Chastity' deals with an attractive air hostess who receives the unwelcome attentions of a middle aged American. Godard's 'New World' illustrates a post-apocalypse world the same as the pre-apocalyptic one but for an enigmatic change in attitude in most people, including the central character's girlfriend. In Pasolini's 'La Ricotta' (Curd Cheese), a lavish film about the life of Jesus Christ is being made in a poor area. The impoverished people subject themselves to various indignities in the name of moviemaking in order to win a little food. The central character is hoisted up on a cross for filming, and dies there. Finally comes Gregoretti's 'Free Range Chicken' in which a family of the materialist culture inadvertantly illustrate the cynical, metallic voiced doctrine of a top sales theorist.

An exploration of the Centre Georges Pompidou and its surroundings on its opening day in 1977.

Although released anonymously, as was the custom with all films produced by the Italian Navy, La Nave Bianca is the first feature-length effort directed by Roberto Rossellini; it is also very much the work of its co-writer and supervisor Francesco De Robertis. The film combines a documentary look at the Italian Navy during World War II with newsreel combat footage and a scripted love story performed by non-professional actors.

In Nazi-occupied Rome, a beautiful bootlegger, to the chagrin of her lover, gives sanctuary to three escaped POWs: an American pilot, a Russian sergeant and a British major

A biography of St. Augustine as he enters the episcopacy and deals with heresy and the decline of the Western Roman Empire.

A segment of "Love at Twenty" tells the story of a tough mistress who loses her lover to an older, wealthier and more-appreciative woman.

Love at Twenty unites five directors from five different countries to present their different perspectives on what love really is at the age of 20. The episodes are united with the score of Georges Delerue and still photos of Henri Cartier-Bresson.

In the 1960s, increasingly concerned with cinema's functions as an artistic and educational tool, Rosselini removed himself from the commercial arena and became the first major director to embrace the new medium of TV. Holding that the camera has the opportunity and duty to impart knowledge, he devoted his creative energies to TV films on science and history: The five-hour "The Age of Iron" (1964), "The 12-hour "Man's Struggle for Survival" (1967); "The 6-hour "The Acts of the Apostles" (1968), as well as biographies of Socrates, Blaise Pascal, Augustine of Hipp, Descartes, Jesus, and Louis XIV. Of these, only "The Rise of Louis XIV" (1966) received its due acclaim, mostly because it is one of the few films to get theatrical release. Stylistically, the TV work established the foundation for materialist cinema, the direct descendant of Neorealism.