This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.
Social & External
An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning.
"In continuo" uses slaughterhouse imagery to present the warlike nature of man, first depicting the cleaning and mechanical preparations for the slaughterhouse and then the killing, however, the animal slaughter itself isn’t shown.
On Manhattan's jam-packed streets, NYC's most iconic driving instructor prepares students for the road ahead.
An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
One of the highest achievements of the new wave of Kirghiz cinema, which emerged in the mid-1960s. This story of a boy building sandcastles on the shores of the Issyk-Kul Lake becomes a documentary parable on the tensions between an artist and society.
Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.
Using home videos recorded by her voice coach, Diana takes us through the story of her life.
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
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?
In 2007, a teen girl from a posh L.A. suburb must deal with the grizzly murder of her family while trapped in the company of their killers.
Christopher Kerr is a hospice doctor. All of his patients die. Yet he has cared for thousands of patients who, in the face of death, speak of love and grace. Beyond the physical realities of dying are unseen processes that are remarkably life-affirming. These include dreams that are unlike any regular dream. Described as "more real than real," these end-of-life experiences resurrect past relationships, meaningful events and themes of love and forgiveness; they restore life's meaning and mark the transition from distress to comfort and acceptance.
Luis Bunuel, the father of cinematic Surrealism, made his film debut with 'Un Chien Andalou' in 1929 working closely with Salvador Dali. Considered one of the finest and controversial filmmakers with, 'L’Age d’Or' (1930), attacking the church and the middle classes. He won many awards including Best Director at Cannes for 'Los Olvidados' (1950), and the coveted Palme d’Or for 'Viridiana' (1961), which had been banned in his native Spain. His career moved to France with 'The Diary of a Chambermaid' with major stars such as Jeanne Moreau and Catherine Deneuve.
Experimental movie, where a man comes home and experiences LSD. His kaleidoscopic visions follow, with readings inspired by the Tibethan Book of the Dead.
An experimental film following a trip made by three friends in which the contrast between the agitated city of São Paulo, Brazil and the calmness of the beach leads the flow. No script. No story. Just vibes.
