Urgent ou à quoi bon exécuter des projets puisque le projet est en lui-même une jouissance suffisante

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

good boy

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

Naked Rose

Among the millions of victims of the Nazi madness during the Second World War, Pierre Seel was charged with homosexuality and imprisoned in the Schirmeck concentration camp. He survived this terrifying experience of torture and humiliation, and after the war he married, had three children, and tried to live a normal life. In 1982, however, he came to terms with his past and his true nature and decided to publicly reveal what he and thousands of other homosexuals branded with the Pink Triangle had undergone during the Nazi regime. Il Rosa Nudo (Naked Rose), inspired by the true story of Pierre Seel, depicts in a theatrical and evocative way the Homocaust, focusing on the scientific theories of SS Physician Carl Peter Værnet for the treatment of homosexuality, which paved the way for the Nazi persecution of gay men.

The Long Voyage of the Yellow Bus

For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!

Fear Itself

A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.

Moments Like This Never Last

Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fueled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley and Dan Colen before his death by heroin overdose in 2009. Drawing from Snow’s unforgettable body of work and involving archival footage, Cheryl Dunn’s exceptional portrait captures his all-too-brief life of reckless excess and creativity.

Sylvia Kristel – Paris

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

Strokkur

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn't illustrate the image and the image shouldn't absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere.

We Don't Care About Music Anyway

From radical turntablism (Otomo Yoshihide) to laptop music innovation (Numb), via classical instrument hijacking (Sakamoto Hiromichi), Tokyo's avant-garde music scene is internationally known for its boldness. While introducing some of the greatest musicians of this scene, "We Don't Care About Music Anyway..." offers a kaleidoscopic view of Tokyo, confronting music and noise, sound and image, reality and representation, documentary and fiction.

Baseball is Cinema

John DeMarsico’s showcase of the cinematic inspirations for the baseball broadcasts he directs at SNY for the New York Mets. DeMarsico pairs clips from some of his favorite films with sequences from his broadcasts that were directly inspired by those films.

Braverman's Condensed Cream of the Beatles

Photos, animation, and music illustrate the story of the Beatles.

200,000 Phantoms

In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.

Collage

Helicopter String Quartet

One morning, the late Karlheinz Stockhausen awoke from a dream that told him to take to the sky. Stockhausen envisioned four helicopters swirling in the clouds, with each of a quartet’s members tucked inside his own chopper, communicating through headsets, stringing away in sync to the rotor-blade motors. He immediately set forth to make that dream a reality. In 1995, Dutch film director Scheffer followed Stockhausen in the days leading up to the premiere performance of his Helicopter String Quartet in Amsterdam. The resulting film offers a rare glimpse of Stockhausen as he patiently dictates every agonizingly detailed measure to the Arditti Quartet.

All Divided Selves

Collage film about R.D. Laing, who spearheaded the social and cultural revolutions of the 1960s, weaves archival material with his own filmic observations. For Laing normality meant adjusting ourselves to the mystification of an alienating world.

Canadian Pacific I

Canadian Pacific I is made up of a series of slowly dissolved shots done from the same framing over several months. The camera frames a window with a railway yard in the foreground, a bay in the space behind it, and misty mountains in the extreme distance. Trains occasionally pass by in the foreground. Huge ships move across the bay. Blue mists hover over the mountain heads.

Tribulation 99: Alien Anomalies Under America

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

The Memories of Angels

Documentary, poetry and essay rolled into one, this compilation of stockshots and clips sourced from NFB productions of the '50s and '60s offers a singular lesson in Montreal history - its famous figures, symbolic places, and ordinary citizens. Without commentary, the film moves from the red light district to Jean Drapeau, the Jacques-Cartier market, department stores downtown, textile factories, and the construction of Place Ville-Marie. We meet Geneviève Bujold, Oscar Peterson, Monique Mercure, and Igor Stravinsky. We hear Raymond Lévesque, Jean Drapeau, and René Lecavalier.

King of the Jews

King of the Jews is a film about anti-Semitism and transcendence. Utilizing Hollywood movies, 1950's educational films, personal home movies and religious films, the filmmaker depicts his childhood fear of Jesus Christ. These childhood recollections are a point of departure for larger issues such as the roots of Christian anti-Semitism.

Silent Witnesses

Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.