A short experimental film.
Social & External
This is a story about a man who believes that he has two “selves” - external and internal. That is, an organism is a certain conglomerate of cells, each of which is a separate individual. This hybrid creature has a certain common personal “I” that uses the entire organism, and is the organism itself, which has its own will. According to the character, one can communicate with him, which is what he is trying to do. He wants to reach him and comes up with different ways of communication: injecting substances under the skin or intravenously, tattooing texts on the body, swallowing objects. The answer would come in the form of a rash or other physical manifestation that had to be interpreted. As a result, communication is carried out and the second “I” agrees to die.
On an isolated farm, a woman finds an injured and frightened woman in her old chicken coop. Moved by an inexplicable instinct, she decides to help her, without imagining that this silent encounter will awaken buried secrets. When tension finally gives way to trust, something dark approaches, bringing a truth that no one could have foreseen.
The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.
Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.
“Poussières de Juillet”, produced in 1967 by Hachemi El-Chérif, is taken from a poem by Kateb Yacine. "We made a film on the return of the ashes of Emir Abdelkader, to Algeria. It was the opportunity to make a film on the ancestors with M'hamed Issiakhem. He designed glass plates on the basis of my texts. Then we had actors collaborate. It was a film which cost us a total of 300 dinars, proof that we could do work for television without too much money. We won two first international prizes at the Belgrade festival. We left the original of the film with the Egyptians in Alexandria and they lost it. We kept a copy but over time I wonder what happened to it, because there is no not even had a screening, they say it still exists, but I don't know in what state." Kateb Yacine, July 28, 1986, interview with Arlette Casas.
A mosaic-style comedy following the life of a woman as time passes in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family.
A motorist is haunted by a wayfarer he has accidentally wronged.
In countless meeting rooms, an employee wants to resign. Her motivations don't matter, what matters is the catharsis of resignation.
An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.
Life is what we don't want it to be.
A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?
A teenage skateboarder becomes suspected of being connected with a security guard who suffered a brutal death in a skate park called "Paranoid Park".
An exploration of entering and leaving consciousness from the perspective of non-human bodies trapped in everlasting cycles of abuse.
A small group of French students are studying Mao, trying to find out their position in the world and how to change the world to a Maoistic community using terrorism.
When actress Nikki Grace gets the lead role in a cursed film, her world becomes more and more surreal, blending realities and ideas of infidelity, reincarnation, and supernatural forces.
The night before her eighteenth birthday recital, an overworked and undertalented pianist is abducted by three ghouls.
"Fag End" is an astute representation of the metaphorical death of a mother. The movie revolves around a girl named 'Tania', a victim of smoking and alcohol abuse, going through the process of In vitro fertilization. When it comes to alcohol and smoking, an abuser is overlapped with the tendencies of both alcoholism and chain smoking wherein one is subjected to intense cravings, followed by untoward mental as well as physical detention. Things go downhill one morning, as she relapsed the night before and she suffers a miscarriage. Does it not leave us with the raucous screams of the unborn?
An experimental tribute to Jean-Luc Godard, his documentary works and his insights in our modern world.
Memories are fleeting. They penetrate our imagination, put us in a moment of trance and then disappear again. They will never return in the same way. In the search for them, we screw ourselves into ourselves.
Egglantine loves salt on her eggs. Eggbert prefers pepper. Who blinks first in this playful Easter ritual?
