Lino Capolicchio was an Italian actor, screenwriter, and director known for performances in such films as Escalation (1968), The Garden of the Finzi-Continis (1970) and The House with Laughing Windows (1976).
Her films were popular among critics and directors, giving her the status of a cult director.
This is perhaps not the best of times to rid the world of a minor misconception regarding the work of Varda, but it is what I must do after researching her oeuvre following her death.
Agnès Varda made one film about the Black Panther Party, just one. That film was Black Panthers (1968), a color film which can be viewed in its entirety at Archive.org.
Another film from that same year is called Huey! and is directed by a certain Sally Pugh. It can be seen in full on YouTube [below] and has nothing to do with Varda, although the general subject matter as well as some scenes overlap.
Referring to the horse incident, the film The Turin Horse asks “what happened to the horse?”.
In director Béla Tarr’s introductory words:
“In Turin on 3rd January, 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Alberto. Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing. His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, ‘Mutter, ich bin dumm!’ [‘Mother, I am stupid!’ in German] and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse.”
“Ayoade has cited Orson Welles’ Kafka adaptation “The Trial” as a key influence, with its similarly labyrinthine sense of entrapment, along with “Alphaville,” “Eraserhead” and the dry Nordic comedies of Roy Andersson and Aki Kaurismaki; the latter’s imprint is particularly apparent in “The Double’s” regular eruptions of deadpan humor and its rich, almost Sirkian color palette. And so long as there are cinematic references to be footnoted, it’s hard not to flash back to “Rear Window” when Simon uses a telescope to spy on Hannah in her apartment — at first with longing, then with frustration as he bears helpless witness to her trysts with James.” –Justin Chang 
In this charming film, various musical notes set up the sheet music to get ready for a performance of The Blue Danube Waltz. However, a sole note is missing. It turns out the note (a red-faced “High Note”) is drunk upon staggering out of the sheet music to “Little Brown Jug“, and the irritated conductor chases after him to put him back in his place so the waltz can continue as planned. Eventually, the rogue note is put back into place, but when the performance starts again, it has disappeared again, along with the rest of the sheet music. The composer then discovers that all the notes have gone into the “Little Brown Jug” to get drunk.