Fluxfilm No. 3
Word & number gag, no camera.
A Friend Arranges Mysterious Date For His Lonely And Desperate Executive Friend. They make Dirty And Raunchy Love During The Night And In The Process, Developed Uncanny Chemistry And The Girl Promises To Come Back Next Night. In The Morning The Executive Is Horrified To Learn Deadly Secret About The Girl. Will The Girl Come Back That Night To Keep Her Promise?! The Unnerving Tale With Supernatural Twist.
An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.
Warsaw's Central Railway Station. 'Someone has fallen asleep, someone's waiting for somebody else. Maybe they'll come, maybe they won't. The film is about people looking for something.
A boy makes a discovery at the seaside.
A bustling and average police precinct is disrupted when a frantic teenager enters with a huge problem.
Another day, another university writing workshop on Zoom. When a frustrated student gets some unwanted feedback from his classmates, he decides to give a little feedback of his own.
In the last rehearsal for an upcoming show, three dancers confront emotional and existential challenges as they struggle to create.
Painter Zdzisław Beksiński, his wife Zofia and their son Tomasz, a well-known radio journalist and translator, were a typical and unconventional family, both at the same time. One of the father’s obsessions was filming himself and his family members. Using archival footage only, shot primarily by Zdzisław, as well many other materials, which have not been presented anywhere so far, the film tells a tragic story of the Beksińskis that has never ceased to fascinate Polish filmmakers.
The T.N.P., the Théâtre National Populaire, an important experimental theater directed by Jean Vilar. Franju combines sequences from theatrical performances with documentary images, creating links and confrontations between theater and the real world.
Agnes is not satisfied with her life. She wants a change, but her relationship with her single parent father and dominant girlfriend inhibit her to do something about it. When the father introduces his new wife, Annalyn, everything changes. The same-aged Filipino stepmother helps Agnes see a new path. Soon emerges something that no one could have foreseen.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical White is part of a trio of video works that are a series of dream-like moving pictures.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical Red is part of a trio of video works that are a series of dream-like moving pictures.
With a static camera Tan films the dense night-time traffic in West Los Angeles from her temporary studio location at the Getty Center. Undercutting the cinematic quality inherent in this view of teeming traffic, the upright frame instead suggests a domestic window or an abstract painting. The space is flattened, and the viewer is unsettled. Shorn of a narrative, Vertical Wide is part of a trio of video works that are a series of dream-like moving pictures.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
Shannon Amen unearths the passionate and pained expressions of a young woman overwhelmed by guilt and anxiety as she struggles to reconcile her sexual identity with her religious faith. A loving elegy to a friend lost to suicide.
Fidi is aimlessly hitchhiking on a snowy winter's night and ends up being seduced by Nona into murdering several innocent bystanders.
A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.
In the evocative landscape of wintry Hokkaido, Monkeyboy (a young man in a monkey suit) searches for his stolen heart – but even the serene beauty of a mountain cannot redeem the failed connection.
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