Every Ambulation a Betrayal

Return to 'burn' only to find out you're already in that urn.

Les dieux de Molenbeek

The Mind and the Crime

The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.

The Accused: Damned or Devoted?

Against the backdrop of Pakistan's elections, this film follows the rise of powerful cleric Khadim Hussain Rizvi, on a mission to preserve the country's blasphemy laws, which prescribe a mandatory death sentence for disrespecting The Prophet Muhammad (P.B.U.H) and life imprisonment for desecrating the Holy Quran. With millions sympathetic to his goal, Rizvi silences anyone attempting to change the law by condemning them to death. As he pushes for more power, Rizvi decides to run for office in the upcoming general elections, and those accused of blasphemy or those who oppose the blasphemy laws- whether targeted minorities, liberals, and opposing Muslim voices - become the pawns of his ambition.

Blow Job

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.

Histoires de l'âge d'or islamique

Claudette's Star

Acting as part ode and through a series of interpretations, Claudette’s Star depicts young artists considering with sheer wonder who is given a voice.

Straits of Magellan: "Drafts and Fragments"

A sampling of forty-nine fragments from Frampton's catalogue of 'actualities', the films from STRAITS OF MAGELLAN: "DRAFTS AND FRAGMENTS" are all silent and unedited. Several invoke, directly, the work of the Lumieres, as in Frampton's reworking of DEMOLITION D'UN MUR (1895) in which a dilapidated farm silo is demolished in place of the Lumieres' wall. He makes reference to his own work and plays homage to the work of contemporaries. A complex range of formal issues are raised in other fragments. Finally, Frampton offers a number of analogues for the act of filming and cinematic seeing that includes a series of appropriated 'lenses' ( a stone portal, a wooden silo) and a set of 'screens' a pool of water, curtains, a dusty window).

Living in the World

An auto-documentary about a disenfranchised Everyman and his struggle to re-integrate himself into society. He fails and turns to crime.

Suena la trompeta, ahora veo otra cara

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

París #1

A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.

C-Film

Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

Home Movie: On the Set of Philippe Garrel's 'Le lit de la vierge'

An experimental and poetic portrait of a woman.

Full Circle

Authors, teachers, social activists and feminists explore manifestations of contemporary women's spirituality in the Western world.

One Half of Wealth for One Half of Beauty

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

Document 6.15

Experimental film by Motoharu Jonouchi comprised of both archival footage from the 1960s Japanese student riots and dramatised re-enactions. It was created as a tribute to Michiko Kamba, a student victim of the riots.

Decasia: The State of Decay

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

Almost Nothing: So Continues the Night

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

Congo

An experimental ethnographic documentary that criticizes the colonizer view of anthropology.

60 Seconds of Solitude in Year Zero

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.