Here's to the ones who dream... of sheep
An eight-hour contemplative epic, entirely starring sheep.
Trailer
One of the major works by South Korean feminist film collective Kaidu Club, this short is a dynamic, idiosyncratic, and mosaic-like portrait of Korean life, culture, and people who dream of a unified North and South.
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
A young adult's first-hand account of "accidentally becoming human again" after, and with, trauma induced depression. Lo-fi, vulnerable, and uniquely youthful, "The Afterlife" is a melancholic affirmation of life after death.
A 6-year-old Tibetan boy leaves his family and flees to a refugee camp in northern India.
In this daring follow-up to The History of White People in America, comedian Martin Mull takes us on an in-depth look at such topics as White Religion, White Stress, White Politics, and White Crime.
“Geometric animation made entirely by sculptural methods: cutting, punching, welding colored leader. HETERODYNE is related to some of my other work as RNA to a protein or polypeptide. It was made in abject (if blissful) ignorance of Paul Sharits’ early work.” –Hollis Frampton
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
In 1992 the Universal Exhibition in Seville was held in Spain. Chile participated in this exhibition by displaying in its pavilion an ice floe captured and brought especially by sea from Antarctica. In these true facts is based the fantasy narrated in Dreams of Ice. Filmed between November 1991 and May 1992 on board the ships Galvarino, Aconcagua and Maullín, in a voyage that goes from Antarctica to Spain, in this documentary film in which dreams, myths and facts converge towards a poetic tale turned into a seafaring saga, in the manner of the legends of the seafarers that populate the mythology of the American continent and universal literature.
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.”
Filmed on location in Harlem and in Monet’s historic gardens in Giverny, this multi-textured cinematic poem meditates on the bodily integrity and creative virtuosity of black women.
An experimental sports film made partly during the Scandinavian Open Championships in Halmstad in 1970, partly during the Chinese players' exhibition tour in Denmark immediately after the SOC. First of all, it is a film about their style, about the artistic culmination that is ping-pong at its best, it records China's comeback into the international sports world.
First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
In 1919 an art school opened in Germany that would change the world forever. It was called the Bauhaus. A century later, its radical thinking still shapes our lives today. Bauhaus 100 is the story of Walter Gropius, architect and founder of the Bauhaus, and the teachers and students he gathered to form this influential school. Traumatised by his experiences during the Great War, and determined that technology should never again be used for destruction, Gropius decided to reinvent the way art and design were taught. At the Bauhaus, all the disciplines would come together to create the buildings of the future, and define a new way of living in the modern world.
Film by Kenji Onishi. With friends. Mr. Yamase as main character, Sasakubo and Shinojima. And the girls having a good time. The camera is all you need. Looking still at the Mt. Buko which is disappearing.
A film about friendship and the occasional loneliness.
What are we talking about when we talk about negotiations? About the state's concessions to the Mafia in exchange for ending the massacres? About who assassinated Falcone and Borsellino? Of the eternal coexistence between the Mafia and politics? Between the mafia and the church? Between the Mafia and law enforcement? Or is there more? A group of actors enacts the most relevant episodes of the affair known as the Mafia-state negotiation, impersonating mobsters, secret service agents, high officials, magistrates, victims and murderers, Freemasons, honest and courageous people, and courageous people up to a point. Thus one of the most intricate events in our history becomes an exciting tale.
George Carlin changes his act by bringing politics into the act, but also talks about the People he can do without, Keeping People Alert, and Cars and Driving part 2.
Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion
Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.
No Cast found.
