Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".
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Two old sisters, living in the same Warsaw apartment, sit on a bench and talk. The 87-year-old elder one seems to care for the other reluctantly and treat her badly. The younger, who is said to be clumsier, has walking problems.
The action is placed in a cramped flat in Warsaw’s district of Ochota. A father and a son, both bedridden, live in a fascinating symbiosis. The son, a well‑known photographer Bernard ben Dobrowolski, is lying in bed because a chronic condition has deformed his body and immobilized him. The father, Dominik, has recently suffered from a stroke. Now they are taking care of each other and crowds of visitors move through their room.
70-year-old Timo makes the most of his short ride to work. Speeding up on a bicycle ends up in a ditch, but the adrenaline rush leaves a feeling of pleasure.
A young woman is fed up with the usual consumer's television and begins to make her own television, or more correctly, closevision. She is now a reporter who wanders around Berlin with her camera and 'telecasting apparatus' on her back. Her livingroom has been transformed into a studio and here the different programs are assembled and aired: statements, interviews, realistic and phantastic programs.
Hosted by futurist moderator Chris Wallasch, this playful documentary speculates on what love and relationships might look like in the year 2002. Through interviews with travelers at Berlin-Schönefeld Airport and a collage of witty flashbacks and imagined flashforwards, the film reflects on enduring questions of romance, family, and changing social norms.
Impressions of New York City. Experimental short.
A journey into the lives of a mother polar bear and her two seven-month-old cubs as they navigate the changing Arctic wilderness they call home.
Documentary profiling young Roxy Music fans. They talk about the band and the music, are seen out and about in Manchester, they prepare for a concert at the Opera House. Includes footage of a tribute band, who, due to a lack of musical instruments, use household appliances to make music.
This documentary takes us on a ride through Marginal Tietê, an important avenue in São Paulo, Brazil, then recently opened to the public. The places it crosses and the people living nearby force the viewer to think about the core of this big city.
A highly secure conference centre, nestled in the mountains. Hugo Radi combines a creative way of filming this locus of power with two fictional voice-over accounts to construct a dystopian world with real contours. This speculative film seems to draw inspiration from the most frightening elements of our contemporary societies.
As the only work in this medium by Richter, the film was created for the exhibition Volker Bradke that took place on 13th December 1966 at Galerie Schmela in Düsseldorf. For the purpose of this exhibition, Gerhard Richter addressed the person Volker Bradke in different mediums. In addition to photographs, a banner and a large-scale painting Volker Bradke [CR: 133], the film had been screened. Richter transferred one of the stylistic features of his paintings of that time into film: the blurring.
An experimental journey into nostalgia, media, and ownership.
A film that will not only delight and entertain the aviation enthusiast but also educate and inspired renewed interest in aviation by the traveling public.
Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.
Bojana Marijan joined the film club crowd (including Zilnik and Makavejev, her future husband) at Novi Sad where Zilnik had already set up the legendary production company Neoplanta. Her political argument is obvious, but in Vesela Klasa, as Amos Vogel puts it, “Instead of complaints there are lyrics, music and wine.”
Lumsden, Saskatchewan is a town of 850 citizens on a river called the Qu'Appelle. In the spring of 1974, the river doubled its volume and threatened to flood the town. The townspeople organized themselves and the whole province stood behind them. Lumsden is the story of an incredible battle against impossible odds.
Fragments 83 rediscovers—and repurposes—Richard Millen 1983 experimental film If You Can’t Be with the One You Love, shot in Brooklyn and the West Village in the early days of the AIDS epidemic. The resulting documentary explores the hunt for sex/love, the joy of making cinema, and the inexorable passage of time.
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Luca Guadagnino left for Sicily from Milan to knock on the doors of his childhood friends and discuss with them their experience of this exceptional moment, which has united the entire world.
A filmmaker plays with diary-docu and fiction as his camera joins his ventures into a phone dating club. Bored to death, hormones running, and desperately wanting to talk to someone his own age (preferably a girl), he walks into a local phone dating club. Can he hook up with someone? Borrowing the form of a diary-movie, the director unfurls an unpredictable and imaginative look into his own persona. 8mm experimental film by Murakami Kenji, the film that made his name.
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