The desolation of vast retail spaces is not so far off from the decay of one's memories.
Joel Barish, heartbroken that his girlfriend underwent a procedure to erase him from her memory, decides to do the same. However, as he watches his memories of her fade away, he realises that he still loves her, and may be too late to correct his mistake.
Leonard Shelby is tracking down the man who raped and murdered his wife. The difficulty of locating his wife's killer, however, is compounded by the fact that he suffers from a rare, untreatable form of short-term memory loss. Although he can recall details of life before his accident, Leonard cannot remember what happened fifteen minutes ago, where he's going, or why.
My grandfather Tuiu decides for the second time to leave his house and start a life elsewhere, he lives with the street hardships, and the fact of leaving is linked to the depredation of that place.
Jake Blues, just released from prison, puts his old band back together to save the Catholic home where he and his brother Elwood were raised.
Nesrin and Erdem talk about their relationship, which they don’t remember in exactly the same way. Çevik’s visually stunning essay uses their conversations to forge a pensive treatise on what it means to forget, where word and image play an equal role.
"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins
A short experimental documentary that interrogates how the modernization of parks and playgrounds in Long Branch (a neighbourhood in South Etobicoke in Toronto, Canada) both reflects and contributes to the overall rise in the cost of living in the area by exploring children's relationships to the community spaces around them. The film includes footage from four local parks and playgrounds, personal archival materials, interviews with five South Etobicoke locals, and an art-based workshop at a local junior middle school.
No overview available.
On Ironbound Island, native Fiona McKay arrives from Europe with her teenage daughter Clair, hoping that the peace of the island will help the girl get over the death of her boyfriend. The girl finds comfort in the company of a visiting American girl and more so in the stories of Celia, a crazy old local who weaves enchanting tales which cleverly combine her own experiences on the island with mystifying legends.
A series of lights flashed on screen in the form of 36 pictures and 3 videos, all contributing to a pattern.
After years away from each other, a mother tries to reconnect with her daughter.
Experimental short film by Josephine Massarella
In the solitude of night, the veil of reality slips away to reveal our deepest fears.
Tracing the faded time of those who once turned the pages Chŏng Yagyong(1762-1836)’s Chil Shil Gwan Hwa Seol (On Viewing Paintings from the Dark Chamber). In a dark room of their own, they steep tea, mend fragments with thread, and enfold them in bojagi cloth—crafting a cinema that was unseen.
Documentary filmed on the occasion of the “2003, Odyssey in Space Zero” operation inside the Spazio Zero Theater in Rome. The document, filmed between 21 October and 30 November 2003, recounts the representation of Fotofinish not as a single and continuous work, but as the evolution over time of the moods and movements of the actors who, replica after replica, have developed an awareness of the space and arrived at the joy of staging.
Inverted lights dance through the nightosphere
1982. 15'50". A French black and white experimental film. Bloody, violent, and disturbing. Full production credits unconfirmed.
In 17th century Edo Period Japan, a noblewoman's banishment for her love affair with a lowly page signals the beginning of her inexorable fall.
No Trailers found.
Memory
