more than just wood
no musik, no dialog just a chair and the nature
Trailer
The Chair
On the South Pacific island of Bora Bora, a young couple's love is threatened when the tribal chief declares the girl a sacred virgin.
As a young woman walks home alone one night, a chance encounter with a missing dog incites the reclamation of her body and self — as she learns to bite as tough as her bark.
With a keen sense of visual beauty, director Markku Lehmuskallio has created a thought-provoking, aesthetic film about a married couple and an old man living in a remote part of Finland. The young husband goes out hunting but only to support himself and his wife, not to kill off hordes of animals. He sets traps, and that gets him in trouble with the police who proceed to ticket him for using the devices. The forest cycles themselves are intimated when an old tree is shown falling to earth -- perhaps a reflection on the old man's passing years. In contrast to these few people living off the land and basically keeping the ecological balance intact, a highway construction crew is shown at work felling trees. Soon the antagonism grows between encroaching civilization and the quiet life of the young couple and elderly man.
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Set in the frozen steppes of Mongolia, a young nomad is confronted with his destiny after animals fall victim to a plague which threatens to eradicate nomadism.
Antoine Sforza, a thirty-year-old young man, left his village ten years before in order to start a new life in the big city, but now that his father, a traveling grocer, is in hospital after a stroke, he more or less reluctantly accepts to come back to replace him in his daily rounds.
Upon realizing there's not much time left, a teenager stuck in their bedroom, with only a window to the outside world, reflects on their life and tries to find a way out of their prison.
A photographer girl enters a street to take street photographs as usual and takes a few photos that she thinks are normal. When she washes the photos and hangs them, she sees that she is actually in one of the photos and goes in search of that person.
Upon moving into a new apartment, a young woman finds herself surrounded by strange events. Curious about the reasons behind the occurrences, the young woman is sucked into memories and daydreams, remembrances and forgetfulness, places and non-places.
Young lion prince Simba, eager to one day become king of the Pride Lands, grows up under the watchful eye of his father Mufasa; all the while his villainous uncle Scar conspires to take the throne for himself. Amid betrayal and tragedy, Simba must confront his past and find his rightful place in the Circle of Life.
In the story of a mere moment, “Shadow” peeks into the room where seven spirits toast one another while a gruesome plague ravishes the streets beyond their fastened brass door. Edgar Allan Poe-inspired experimental video shot remotely during Covid lockdown.
The film contains the despair of an artist’s desire for creation on ruthless censorship, rebel, and anxiety in the mid-70s when it was politically and socially depressed.
Christine Vachon’s story of a man haunted by the grotesque memory of having stepped on a dead animal's carcass is an artistic tour de force starring Michael Sean Edwards (the voice of Richard Carpenter in Todd Haynes’ Superstar) and a young Steve Buscemi.
Tender caresses and enveloping embraces are portals into the life of Mack, a Black woman in Mississippi. Winding through the anticipation, love, and heartbreak she experiences from childhood to adulthood, the expressionist journey is an ode to connection — with loved ones and with place.
Shot in a series of long-takes over several days, the film follows a flower shop attendant (played by Devereaux, then actually employed at a small flower shop by the beach) in fragmented detail. The order of scenes resists chronology: moments recur, shift, or vanish, creating not the passage of a single day but the jumble of many, refracted into a meditation on routine and its quiet abstractions.
The movie, based on a story by Yuri Nagibin, depicts a young girl named Vika enjoying the last days of summer vacations in a sea resort somewhere in the south.
A man is consumed with the idea of acquiring a chair from a bric-a-brac shop.
A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?
