Emil
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According to Scottish mythology Selkies are mythological beings capable of changing from seal to human form by shedding their skin. This film follows the story of such a creature who chooses the sea over her land dwelling sweetheart.
A man is confronted by parallel versions of himself as he contemplates his life choices.
A young woman is on the verge of committing suicide when things take an unexpected turn.
Seeing himself as a form unable to experience intimacy, he is given the chance when brought to the household of twin sisters.
A sleep paralyzed woman confronts her demons.
An original ghost story from the rugged coastline of Mendocino County, California. Shot and animated on Super 8 film.
Filmed on Super 8 in Paris, Portrait de Rosa, à la française portrays an intimate love story through quiet images and gentle emotion.
Dozens of film enthusiasts come together to intervene and recreate already filmed in s8
A single misstep — crushing a cicada beneath his foot — plunges a young man into unsettling paranoia.
After of Waves 1 (1972) Amos Gitai made another short film entitled Waves 2, in 1976 and again in Super-8.
An awkward boy and a shy girl meet on a bench, what awaits is a night they will remember forever.
Speak To Me Of What I Know is a short experimental film shot on a Super8. The idea of lack of communication is expressed through an intimate relationship, more specifically the men of the film. The themes of miscommunication develop throughout the film in many ways, even the slightest details are there with the explicit goal of adding to the main message. Pay attention to as much as you can, and build your idea of what it's all about. It remains up to interpretation.
June 1971 - in a fluid landscape completely below sea level, a young biology student dies during the last year of his studies, leaving behind an unfinished scientific collection. More than fifty years later, a group of ecologists and volunteers are trying to understand and document the same environment as it is today.
La signora Aetna, (Etna), is bored and boredom can be a dangerous thing for those around you when you are a volcanic goddess.
"What I tried to "tell" is Rosa's close and distorted relationship, common to many women who are used to living alone with themselves, with objects that have become animated and unreal and the relationship which is completely silent, but no less clear and explosive of Rosa with her feminine unconscious” (D. Maraini).
Fede is a theater actress who, while putting on clown make-up for a show, thinks back to her relationship with her father: a relationship of tenderness, desire and hatred.
Milk in its symbolic and ancestral dimension is the fulcrum of this short film. Primary source of female nourishment, abundance and life, milk flows, is drunk, steeps and nourishes. The woman-mother is its dispenser, the one who safeguards its vital power. The color of milk, however, also recalls male seminal fluid and the dimension of the sensual exchange between man and woman.
A woman, director of advertising films, catches the eye of a mysterious young woman dressed in white during an evening of dancing on the terrace of a bar and is fascinated by her.
Ahmet, a Turkish guy in his early twenties visit his grandfather's abandoned mansion located somewhere in the northern Anatolia. Thinking that he would return to where he spent his early childhood, only to find out that the place is now in ruins. When he goes to sleep. An unexpected angel will visit him to give her a blessing of the truth. He wakes up being not the guy he was before.
A poetic cine-essay about race and Australia’s colonised history and how it impacts into the present offering insights into how various individuals deal with the traumatic legacies of British colonialism and its race-based policies. The film’s consultative process, with ‘Respecting Cultures’ (Tasmanian Aboriginal Protocols), offers an evolving shift in Australian historical narratives from the frontier wars, to one of diverse peoples working through historical trauma in a process of decolonisation.
