Krag-filmen

In the first of three programmes, hosts Ronnie and Ronnie Michael Wikke and Steen Rasmussen restore viewers' zest for life and faith in life after a tough evening in front of the screen.

Documentary about Danish filmmaker, sports journalist and poet Jørgen Leth who struggles after surviving a major earthquake in Haiti.

The artistically streaked brothers James and Adam Price learned early on to LOVE food and both are right at home in the kitchen. In this series they alternate between working together and competing against each other as they take on each episode's theme of food. Some dishes are done the old fashioned way, some get a twist but all is done in a humorous atmosphere of good-natured bantering, teasing and story telling.

In 1984 Jørgen Leth, cinematographer Dan Holmberg and sound recordist Niels Torp travelled some 6,000 kilometres by train through China. The result is a very calm, beautifully perceived travelogue borne by unprejudiced curiosity and observational ability.

Anthology of six experimental films. 1) Allan de Waal: Investigation of an abandoned hippie house. 2) Bjørn Nørgaard and Lene Adler Petersen: The female Christ. Five subsections. a) The female Christ crucified by Roskilde Fjord. b) The female Christ on the Stock Exchange. c) The female Christ exposes herself in front of a cross in a backyard in Nørrebro. d) Female body with breasts and shot bare on a lawn. e) Exhibition of Bjørn Nørgaard's "fucking machines". The female Christ is hung naked in it and eventually has intercourse with Nørgaard. 3) Per Kirkeby: The primitive life in the forest. 4) Jørgen Leth: Interview with a hippie girl. 5) Vagn Lundbye: Paraphrase of spaghetti western. 6) Peter Louis-Jensen: Revolver section of picture and sound noise.

A chronology of the 1976 Paris-Roubaix bicycle race from the perspective of participants, organizers and spectators.

In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

Music for Black Pigeons is the first collaboration between Jørgen Leth and Andreas Koefoed. The film poses existential questions to influential jazz players such as Bill Frisell, Lee Konitz, Midori Takada and many others: How does it feel to play, and what does it mean to listen? What is it like to be a human being and spending your whole life trying to express something through sounds? The characters wake up, rehearse, record, perform and talk about music. In some moments they are on the edge, the edge of existence, constantly challenging themselves. They listen. They devote themselves to finding a space to create a connection to something bigger than themselves. Something that will outlast all of us.

The images from the Tour de France in the television production Eddy Merckx in the Vincinity of a Cup of Coffee may be seen as a small sketch for the fully unfurled epic cycling drama Stars and Watercarriers. The film follows the 1973 Giro d'Italia and in his commentary Leth explains the fascination exerted by the great cycle races: "The most beautiful, most pathetic images cycling can give us involve extreme performances in classic terrain."

An elegant and humorous film—in the guise of a serious anthropological treatise—spotlights "The Perfect Human," a model of the modern Dane created by our wishful thinking.

Frank is left with the responsibility for his nephew Bo on an already planned canoe trip. Frank's mate Casper is also coming along. Weighed down a with their obligation, Frank and Casper nevertheless look forward to ending the trip at Skanderborg Festival where there's plenty there for the guys, a spree of drinking and women. Not the best example to set for young Bo. And how do their partners see it all?

An experimental sports film made partly during the Scandinavian Open Championships in Halmstad in 1970, partly during the Chinese players' exhibition tour in Denmark immediately after the SOC. First of all, it is a film about their style, about the artistic culmination that is ping-pong at its best, it records China's comeback into the international sports world.

With a slow introductory zoom onto Leth in a TV studio and a corresponding zoom out at the end Eddy Merckx in the Vicinity of a Cup of Coffee may be structured in the classical style but an extremely unusual TV production is involved: in the studio Leth reads from his poetry while a subtitle - like in Life in Denmark - pedantically but ambiguously presents observations and describes what is going on.

The Impossible Hour is a concentrated study of Ole Ritter's attempt in Mexico City in 1974 to set a new record for the hour - described in the film as "the noblest, most difficult record that can be set on a bicycle". A brief retrospective in black and white sets the historical framework, with shots of Ritter and Eddy Merckx' successful record attempts in 1968 and 1972 respectively, and a few words about former record holders such as Fausto Coppi.The film follows Ritter's three record attempts chronologically, which, accompanied by a Mexican marching band on the bandstand, all fail.