Alicia Alonso

The series follows the adventures of lighthearted Jean-Paul Moulin, a police Commissaire, and his team as they solve crimes.

“The Bell Telephone Hour” was a musical variety show that aired on “NBC” TV from 12 January 1959 to 14 June 1968 that showcased the best in Broadway, Classical, Concert, Jazz and Popular music each week. The series had its’ own house band appropriately named the “Bell Telephone Orchestra”. The show also had its’ own theme song being the “Bell Waltz” composed by “Donald Voorhees” who was also the show's Orchestra conductor. Some of the greatest violinists of the 1960’s performed on this show that aired in the old “Black & White” format. Some of these great violinists included “Erica Mornin”, “Isaac Stern", "Michael Rabin", "Ruggiero Ricci", "Yehudi Menuhin" and "Zino Francesacatti". From time to time some of the great singers and bandleaders of the 1960’s would perform on the show as well. Some of these were “Bing Crosby”, “Gordon MacRae”, “John Gary”, “Leslie Uggams”, “Mary Martin”, “Nelson Eddy”, “Patti Page” and “Roy Rogers”. The TV show followed on the heels of its’ predecessor with the same name on “NBC” radio that aired from 29 April 1940 to 1958 on Monday nights at 8 PM. The name of the show was derived from its’ Major sponsor “Bell Telephone Laboratories”. The TV version began airing on Friday nights at 8:30 PM once a month. It later was given it’s same time slot now airing every other week alternating with another show on the other weeks such as News shows and specials. The show time slot changed quite often over the years. In September 1960 it aired at 9 PM and in September 1961 it moved to 9:30 PM. In October 1963 it moved to Tuesday nights at 10 PM, September 1965 it moved to Sunday night at 6:30 PM and in September 1967 it made its' final move back to Friday night at 10 PM.

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23 Anecdotes that reveal a personal side of Fidel Castro, told by Gabriel Garcia Márquez, Alicia Alonso, Alice Walter, Aleida, Che Guevara's daughter, Harry Belafonte, Jessie Jackson, Hank Aaron, Comandante Almeida and others.

Documentary that reconstructs the professional life of the dancer through the thread of his own voice. A work that travels to the fundamental landscapes of the personal history of Gades with unpublished documents and the testimony of those who shared with him many pages of the book of his life and the history of Spanish dance in recent decades.

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Set in 18th century, a 10 year old deaf boy has been abandoned by his mother, Comtesse de Solar, and is taken care by Abbé de l'Épée, who teaches him how to comunicate and express.

An approach to a living myth of dance, Alicia Alonso, from the viewpoint of her passion, tenacity and devotion to art. It includes fragments of the ballet Giselle, choreographed by her, based on the original by Jean Coralli and Jules Perrot, and of La Diva, choreographed by Alberto Méndez.

A thrilling performance film featuring Cuba's greatest ballet dancer, Alicia Alonso in her acclaimed portrayal of Giselle, the ballet that made Alicia an international star. In this tale, Duke Albrecht disguises himself as a peasant to win the love of the beautiful Giselle.

Documentary on Alicia Alonso, considered by many critics to be the prima ballerina among all the great contemporary ballerinas. Alicia discusses her history in ballet, we glimpse her early life and see her dancing in "Giselle", "The Black Swan", the "Grand Pas de Quatre", and "Carmen". We experience her triumph over blindness, the acclaim she has received from audiences worldwide and, above all, her continuing artistry and exhilarating verve.

Dance Cuba: Dreams of Flight begins with the historic coming together of American and Cuban dance companies in Havana. The heart and soul of the film rests in the human stories that revolve around the unity of the two.

A psychedelic combination of Shakespeare, rock & roll and Catholic symbolism in the shape of a Cuban ballet.

Documentary on Cuban prima ballerina assoluta Alicia Alonso and her company the Ballet Nacional de Cuba.

To make a film about a poet, it is necessary to move away from all cinematographic purpose, all technical language, all aestheticizing intention; we should just think like him, in terms of image and animism, of arrow and spell. The film in question will then be a tree and every facet of his work a branch, the trunk his life. Thus this incipient metaphor will evolve in the form of the film, the body of the image is henceforth encircled by the cortex of sound, whose independent relief segregates its own layers of meaning, the cavities through which the silence of an army of ants searches for its center.