Experimental short film from Yugoslavia.
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A vehicle of consciousness navigates the vertiginous labyrinths of San Francisco. ROMAN CHARIOT was filmed over several months with a spy camera mounted on filmmaker David Sherman's son's baby carriage.
Set in Charlottesville during the early 1990s, "Pride" follows an aspiring writer as she finalises stories for the latest issue of "Pride", a student run newspaper at the University of Virginia. Over a hectic two-day period, she puts the finishing touches on the upcoming issue. Despite the looming deadline, she moves with a calm confidence.
Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.
This is the portrait of Cesar, the heir to a tradition of neon lights that ruled in Buenos Aires' marquees and now resists obsolescence.
Los Años is a meditation about time, memory and mortality through our representation in images and our lives' rituals. This short highlights our abstract way of understanding time and collective experiences.
This is the filmic portrait of Daniel Vicinos, one of the most characteristic figures of Argentina's film industry: inventor, technician, collector, ironwork lover, but above all, in love with cinema.
Film loops with overlapping chromatic density and textures achieved with photochemical development experiments.
Letraset typeset intervention and editing on the projection copy of the film Cuesta Abajo, by Louis J. Gasnier, 1934.
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
Found footage anti-war film comprising film documents of the Austro-Hungarian and Italian army on the Alpine front, and from first generation picture material by war-film pioneer Luca Comerio.
Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.
Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play. Daumë is both ethnography and critique; it is an interrogation into how to represent a place that can't be represented.
The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.
In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.
Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)
An experimental journey through a year in the life of the director, using his always playing playlist to cross the boundaries of fiction and documentary. Through scenes of both comedy and tragedy, realistic documentary footage and experimental sequences of the director's environment and daily life we get a sometimes estranging image of a young man and also an intriguing insight in his mindset and how this translates to the imagery on screen.
This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”
The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.
Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”
A super 8 projection which references the essay “On the Jewish Question” by Karl Marx.
