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Jackass Number Two is a compilation of various stunts, pranks and skits, and essentially has no plot. Chris Pontius, Johnny Knoxville, Steve-O, Bam Margera, and the whole crew return to the screen to raise the stakes higher than ever before.
Johnny Knoxville and his band of maniacs perform a variety of stunts and gross-out gags on the big screen for the first time. They wander around Japan in panda outfits, wreak havoc on a once civilized golf course, they even do stunts involving LIVE alligators, and so on.
Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a 'pee' gun on themselves, having a mini motor bike fracas in the grocery mall, a sperm test, a portly crew member disguised as King Kong, as well as include three episodes of their hilarious adventures in India.
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.
In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.
Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.
Daniel Eisenberg's film (or "memory essay," as theorist Nora Alter referred to DISPLACED PERSON) is a challenge to a conventional view of history, a provocation using traditional documentary forms: found footage, newsreels, a radio lecture of French anthropologist Claude Levi Strauss and Ludwig van Beethoven's "Razumovsky" quartets.
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?
A completely new story based on existing footage from the series Columbo.
Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fueled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley and Dan Colen before his death by heroin overdose in 2009. Drawing from Snow’s unforgettable body of work and involving archival footage, Cheryl Dunn’s exceptional portrait captures his all-too-brief life of reckless excess and creativity.
Photos, animation, and music illustrate the story of the Beatles.
Poet and artist Vito Acconci points his finger towards the camera and his own reflection in an offscreen video monitor.
A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.
The Darkness of Day is a haunting meditation on suicide. It is comprised entirely of found 16mm footage that had been discarded. The sadness, the isolation, and the desire to escape are recorded on film in various contexts. Voice-over readings from the journal kept by a brother of the filmmaker’s friend who committed suicide in 1990 intermix with a range of compelling stories, from the poignant double suicide of an elderly American couple to a Japanese teenager who jumped into a volcano, spawning over a thousand imitations. While this is a serious exploration of a cultural taboo, its lyrical qualities invite the viewer to approach the subject with understanding and compassion.
What kind of world power is Iran becoming, and how will Western countries deal with it?
Considerations on collage as a cognitive act in artists’ cinema. A pedagogical film adrift: 35mm photographs and other materials collected over the last fifteen years by artist Stefano Miraglia meet a text written by Baptiste Jopeck and the voice of Margaux Guillemard.
The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
This short film from Arthur Lipsett is an abstract collage of snippets from discarded footage found by Lipsett in the editing room of the National Film Board (where he worked as an animator), combined with his own black and white 16mm footage shot on the streets of Montreal and New York City, among other locations. A commentary on a machine-dominated society, it is often cited as an influence on George Lucas's Star Wars and his conceptualization of "The Force."
