A portrait of a street corner in flux.
Social & External
This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.
Two screens of film about - and sometimes shot by - Claes Oldenburg, detailing his inspiration, his methods and his relationship with his partner Hannah Wilke.
Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.
An experimental and poetic portrait of a woman.
Anything that complies with standards is a wasted effort to Vlado Kristl: 'I believe in only doing those things that decompose and tear conventional systems apart.' Kristl's métier are borderlines. His paintings and animated films are interspersed with clear dividing lines, only for him to blur and mess them up. His graphics are scribbled over and over again until the whole surface becomes black. His oil paintings, unless someone buys them in time, are painted over and over again. He destroys any form that begins to grow. -Thomas Brandlmeier
Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.
An experimental film that lifts the veil on the world of African American drag racing.
A meditation on the relationship between humans, nature, and technology.
Fixed and symmetrical shots make up the world where a beast wanders into the different stages of a scientific testing that has been exposed to. Human figures appear in harmless and impersonal spaces where they modify the animal biologically, without uttering words. Nowadays, man only seems to move around a constant improvement, a search for improving the nature that surrounds us, thinking about the possibility to taste a celestial candy.
The Island is a short film shot entirely on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. The artist and his family were some of the 250,000 people who inhabited the tiny island between 1978 and 1991; it was once one of the most densely populated places in the world. After the United Nations High Commissioner for Refugees shuttered the camp in 1991, Pulau Bidong became overgrown by jungle, filled with crumbling monuments and relics. The film takes place in a dystopian future in which the last man on earth - having escaped forced repatriation to Vietnam - finds a United Nations scientists who has washed ashore after teh world’s last nuclear battle. By weaving together footage from Bidong’s past with a narrative set in its future, Nguyen questions the individual’s relationship to history, trauma, nationhood, and displacement.
Shot at high noon in New York’s financial district, Wallstreet is much like a vertical tickertape, charting the existence of typical office workers. The film’s elongated shadows suggest these workers’ depersonalized, neuter, nearly uniform lives, which flow by without any solid or stable element that might provide definition.
Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.
Glen Denny observed: "This film is not ocean, it is panther stalking jungle." Camera flows because it is free to move through space.
Fluidity of stone. Subatomic motion asserting a surface. Mind loop wandering. Visitation of sound matrix. Liquid solid. Nature transforms a planetary cycle. Relations of a timeless void.
Vi.sion is the product of an encounter between an expanding ballet troupe and an abandoned school with a marvelous theater, which was to be demolished to make way for a parking lot. It is the home of a place, imbued with memories of a rich and proud past, by the footsteps of a young troop. The time is getting confused. The present and the past blend together and it is the old school that dances with the passion and passion of young dancers. Ghosts, shadows, specters ... They bewitch.
Nature, gymnastic movements, a cat...
The film takes us through the working day of protagonists, factory workers. Their basic working tool is their body, ready to execute strenuous manual tasks. Day after day the same story, the same faces, the same spaces, the same tasks. Feeling confined, they seek a sheet anchor, a way out, an escape. They venture into the unknown, dance, drift and float in the air.
A spiritual journey, symbolized by the spiral, through images and sounds selected from the physical world over several years as the filmmaker moved between city and country and journeyed to the Center. Lee added some sounds and music to enhance the mood and sees the film as a mirror in which the image is distorted by his own consciousness.
The life and career of an actor, artist, and icon. His own journey through his own camera.
Those who knew iconic funnyman John Candy best share his story, in their own words, through never-before-seen archival footage, imagery, and interviews.
In a crime-plagued neighborhood near Miami, brutal, bare-knuckled backyard fights give young men a chance to earn money -- and self-respect.
Through deeply personal interviews with her siblings and an examination of the photographs, letters, and belongings left behind, Mariska assembles a new portrait of her mother Jayne Mansfield, an extraordinary and complex woman.
The life of Mr. Spock, as well as that of Leonard Nimoy, the actor who played him for almost fifty years, written and directed by his son: Adam.
A comedic, brutally honest documentary following self-destructive TV writer Dan Harmon as he takes his live podcast on a national tour.
Documentarian Ross McElwee originally set out to make a travelogue of sorts tracing General William T. Sherman's infamous scorched-earth march through the Confederacy in the latter stages of the Civil War. Instead, haunted by a recent breakup with a girlfriend, McElwee ends up documenting his progress -- or lack thereof -- in starting a new relationship. His journey then becomes one of self-reflection and self-discovery rather than a historical/sociological exploration.
A documentary about the life and films of director John Ford.
A detailing of the rise to prominence and global sporting superstardom of six supremely talented young Manchester United football players (David Beckham, Nicky Butt, Ryan Giggs, Paul Scholes, Phil and Gary Neville). The film covers the period 1992-1999, culminating in Manchester United's European Cup triumph.
NUDE explores perceptions of nudity in art by chronicling the creative process of photographer David Bellemere as he's commissioned by NU Muses founder Steve Shaw to shoot a fine art calendar of nude photographs.
Daniel Craig candidly reflects on his 15 year adventure as James Bond. Including never-before-seen archival footage from Casino Royale to the upcoming 25th film No Time To Die, Craig shares his personal memories in conversation with 007 producers, Michael G Wilson and Barbara Broccoli.
Dick Proenneke retired at age 50 in 1967 and decided to build his own cabin in the wilderness at the base of the Aleutian Peninsula, in what is now Lake Clark National Park. Using color footage he shot himself, Proenneke traces how he came to this remote area, selected a homestead site and built his log cabin completely by himself. The documentary covers his first year in-country, showing his day-to-day activities and the passing of the seasons as he sought to scratch out a living alone in the wilderness.
As his life comes to its end, famous Hollywood director Orson Welles puts it all on the line at the chance for renewed success with the film The Other Side of the Wind.
From the heights of her modeling fame to her tragic death, this documentary reveals Anna Nicole Smith through the eyes of the people closest to her.
This character-driven film considers the evolving sex trafficking landscape as seen by the main players: the exploited, the pimps, the johns that fuel the business, and the cops who fight to stop it.
A look at the origins, history and conspiracies behind the "Majestic 12", a clandestine group of military and corporate figureheads charged with reverse-engineering extraterrestrial technology.
The Making-of James Cameron's Avatar. It shows interesting parts of the work on the set.
Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."
Home movies, photographs, and recited poetry illustrate the life of Tupac Shakur, one of the most beloved, revolutionary, and volatile hip-hop MCs of all time.
This searing investigative work shadows a group of activists risking unimaginable peril to confront the ongoing anti-LGBTQ program raging in the repressive and closed Russian republic. Unfettered access and a remarkable approach to protecting anonymity exposes this under-reported atrocity–and an extraordinary group of people confronting evil.
