Social & External
Non-human animals have always been around us, shaping and being shaped by our shared worlds. Yet in the modern city, their presence is increasingly cast as a problem, and their ways of living as disruptions. By following their traces, this film essay points toward a different picture that questions the narratives we take for granted. Through more-than-human encounters filmed locally in Romania, and a critical detour from the official discourse, other ways of living begin to surface. Perhaps there’s more we can do to unmake the anthropocentric landscape. What would it take to coexist more justly with urban animals? This film strays with this question and its possible answers.
A video essay made on S. Craig Zahler's 2015 film "Bone Tomahawk".
A video essay on Edward Yang's 2000 film "Yi Yi: A One and a Two..."
In a world bedazzled by intractable images, do we need the essay film now more than ever? Kevin B. Lee weighs up this distinctively self-aware, searching form of cinema through both video and text.
There are two Bergmans. One speaks English, the other Italian. They fall in love and set off impulsively to live together. But reality is far from easy. As the rift between their emotions deepens, what choice will they make? And what kind of ending awaits them?
An Iranian-born teenager living in suburban New Jersey thinks of herself as simply an American until anti-Iranian sentiment erupts in her community after American hostages are held in Iran.
The story is set near the southern border filled with explosive mines. The men of the "Network" stubbornly slam themselves against the border, trying to cross it to no avail. They have to take refuge in a local's house where one of the members fall in love with a beautiful girl...
Wendy Tilby's Tables of Content was her graduation film from the Emily Carr College of Art and Design, Vancouver in 1986. The movie transports one into another era, an earlier age of gentility and reticence, set in a rather stuffy restaurant during the day.
Pride is the first of the seven deadly sins. The introduction is made through early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.
Hayriye is afraid of the future. Every day, while waiting for his beloved Ali to return from fishing on the long wooden pier, she disappears one day; it is Ali' turn to wait.
