Hands on a Hard Body: The Documentary is a 1997 film directed by S. R. Bindler documenting an endurance competition that took place in Longview, Texas. The yearly competition pits twenty-four contestants against each other to see who can keep their hand on a pickup truck for the longest amount of time. Whoever endures the longest without leaning on the truck or squatting wins the truck. Five-minute breaks are issued every hour, and fifteen-minute breaks every six hours.
The documentary follows the 1995 competition which lasted for seventy-seven continuous hours. The film garnered the audience award for best documentary at the 1997 Los Angeles Film Festival.
Large portions of the film's audio were included on the "Something for Nothing" episode of the public radio show This American Life in 1997.
At the time of his death film director Robert Altman was developing a feature film based on the documentary.
In 2013, the film was digitally re-mastered and released for sale on-line.
Bande annonce de Hands on a Hard Body: The Documentary
Dans un petit village du Zimbabwe, deux femmes tombent amoureuses l'une de l'autre. Nongoma est célibataire, mais sa voisine Tsisti est mariée. De plus, l'homosexualité est taboue dans leur société. Quand leur relation est découverte, Nongoma part pour la ville. Deux ans après, elles se retrouvent par hasard. Elles décident alors de vivre ensemble dans un village où personne ne les connaît.
, 1h20 Réalisé parEduardo Montes-Bradley GenresDocumentaire ThèmesFilm sur un écrivain, Documentaire sur une personnalité ActeursJorge Luis Borges, Osvaldo Bayer Note61% Montes-Bradley approaches Jorge Luis Borges on film. The portrait of Borges emerges as a counterpoint to the interviewees, some of which evoke scandal and most of which cut through stereotypes and presuppositions surrounding this key figure. The title of the film is a reference to a quote from the poem “Borges and I”, slightly modify to pay a tribute to the writer´s billings. The strategy employed by Montes-Bradley when it comes to Borges, a writer of whom almost everything has been said, consists on giving the word to the writer himself and to a select group of intellectuals who dwell on the margins of the Argentine cultural aparatik. Montes-Bradley, however, does not exhibit Borges like a painting to be admired but rather as counterpoint to the observations of others. We are neither the hapless witnesses of another saccharine celebration of Jorge Luis Borges, nor are we forced to endure another fashionable defrocking of an idol. The Borges that emerges from the interaction of the testimonies in this documentary surges from the heat of the debate, from the strong opinions, some certainly scandalous, most politically incorrect.