Rosie

A Yugoslav man, dying after being shot while attempting to help defend his village, writes a letter of encouragement and hope to his unborn child, explaining what he was fighting for in resisting the Nazi invasion of his homeland. A John Nesbitt's Passing Parade short.

A teenaged shoeshine boy urgently tries to raise the remaining amount of money he needs to purchase a secondhand bugle before 6p.m.

In New York, a distraught woman sits in her rented room in a rocking chair. Outside, people shop and engage in commerce, men light pipes, hands type. A mother and baby play peek-a-boo: things are okay for many. The woman continues to rock. A drunk is arrested; a Salvation Army band plays, kids run around. Protesting unemployed workers appear. The rocking woman's face becomes more distorted. Military officers parade. A man picks through discarded clothes, hobos sit listless. These men are veterans of the Great War, now forgotten, many alcoholic. Passersby ignore men passed out on sidewalks. The woman stops rocking and takes action.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

In this John Nesbitt's Passing Parade short, a man recovers his lost memories when he is forced to relive events in his dreams.

An orphan is uncertain whether she wants to remain with her adoptive family or return to the orphanage.

“The personality of the sculptor Chaim Gross, his mannerisms, his characteristic method of work, his tendencies are all intimately disclosed in minute details, as though unobserved—a sort of candid-camera study. Dramatic form and cinematic structure endow the presentation with excitement, humor, and interest.” —Lewis Jacobs