After of Waves 1 (1972) Amos Gitai made another short film entitled Waves 2, in 1976 and again in Super-8.
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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.
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.
Two generations dialogue through the images they filmed of their children, a reflection of the emotional bond that arises from their involvement with what was shot.
A portal, a sorceress, a fictional device to portray existence as a moment encapsulated inside an instantaneous photograph to present fragmented biographical elements —family disintegration, rootlessness, scars, two loyal companions, the promises of a new land—subverting the notion of a home-movie and transform it into a pilgrimage tool of self-discovery, mirroring the fragile nature of memories.
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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.
Filmed on Super 8 in Paris, Portrait de Rosa, à la française portrays an intimate love story through quiet images and gentle emotion.
A single misstep — crushing a cicada beneath his foot — plunges a young man into unsettling paranoia.
Dozens of film enthusiasts come together to intervene and recreate already filmed in s8
"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.
A young woman is on the verge of committing suicide when things take an unexpected turn.
A lonely mime takes desperate measures in order to find the audience he deserves.
An awkward boy and a shy girl meet on a bench, what awaits is a night they will remember forever.
Maya excitedly leans into the joy of her first queer relationship, but must confront the seemingly never-ending sexualisation of her identity
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 man is confronted by parallel versions of himself as he contemplates his life choices.
