On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.
Self
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Filmmaker Jonas Mekas films 160 underground film people over four decades.
An epic portrait of the New York avant-garde art scene of the 60s.
A letter of love to my past self who discovered himself.
I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
An intimate glimpse into 3 years of serene moments, compiling video, polaroids and other things that were lying around when editing.
Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.
A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.
Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.
A short documentary project that attempts to encapsulate what it looks and feels like to be an American Teenager in 2022.
Made over six years in the hotels of six different countries, Hotel Diaries charts the 'War on Terror' era of Bush and Blair through a seven-part series of video recordings that relate personal experiences to the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine. In these works, which play upon chance and coincidence, hotel rooms are employed as 'found' film sets, where architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.
The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”
For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.
An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.
Somewhere between a diary and a filmed letter made while Caroline Champetier was shooting Benoît Jacquot's film L'Intouchable in India.
A short documentary by Jim McBride.
Reminiscences of a trip to Čáslav
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