A young man in a tram is asking a bit too much from a stranger.
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A remarkable walk through the life and work of the French artist Marcel Duchamp (1887-1968), one of the most important creators of the 20th century, revolutionary of arts, aesthetics and pop culture.
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.
Art dealer Salvatore Viviano and director Angela Christlieb embark on a search for the lost artist collective Gelitin, which since the 1990s has shattered the borders of "good taste" again and again with extravagant actions and installations. Interviews with old companions and artist friends in the U.S., Europe, and Asia are linked with anarchically montaged Gelitin archive material: intense, transgressive, experimental, gaudily colorful, funny, and virulent.
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.
Dirty Martini and Tigger!, stars of the New York underground scene, reveal some of the secrets of their provocative and remonstrative forms of artistic expression in New York’s Off-Off-Broadway. Meanwhile, they will help us to understand from their everyday intimacy the reasons, the struggles and the keys that keep them in their place as the figures and references of the burlesque revival, more than 20 years after the phenomenon exploded in the New York of the 90s.
Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.
Life and art intersect on a spectacular Newfoundland farm where visual artist Colette Urban mounts thirteen art performances in the fields and barns of her property. Resilient, determined, self aware and funny, Colette embraces the transformative power of art as she restages the significant art performances of her thirty-year career. With the camera as her audience she transforms the quotidian into a playful world of the imagination with elaborate costumes and idiosyncratic self invented rituals.
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 film explores the sexual aspects of Serbian folklore. Ancient myths that have trickled into everyday household remedies or explanations are juxtaposed with the joys of the female and male sexual forms from which all human life originates. Functioning as both sexual liberation and reinvented modern myth, Balkan Erotic Epic is a display of the need for a cultural change in viewpoint around sex.
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)
