A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.
Gabino RodríguezHombre con peluca / Narrador
Luisa PardoMujer en cuarto de hotel / Mujer con peluca
Francisco BarreiroHombre a quien le roban la motocicletaJosé Rodríguez LópezHombre que maneja camioneta roja
Teresa SánchezMujer que atiende en el bar
Fernando Álvarez RebeilHijo del dueño de la mina / Ladrón de motocicleta
A man trying to get home to his dog becomes stuck in a time loop that forces him to relive a deadly run-in with a cop.
An unexpected tropical encounter sparks a fragile romance between a wanna-be astronaut and a village farm boy.
An Irish Traveler father struggles to raise his son, who has darker secrets than most.
The latest in Peccadillo’s critically acclaimed series – now established as a leading showcase for new and emerging queefilm-makingng talent from around the world – features a fresh and exciting selection of the very best contemporary gay short films. Each self-contained drama in this diverse and thoughtfully curated collection offers fascinating and insightful new perspectives on the gay experience – sensual, affecting, sometimes provocative and always entertaining. The 8 short films are: Have We Met Before? (2019); The Act (2020); First Position. (2019); Winter [Invierno] (2021); The Suit Weareth the Man (2020); Infinite While It Lasts [Infinito Enquanto Dure] (2019); Melon Grab (2017); Thrive (2019).
Under the leaden sky of a summer day, Eric goes to work to defend a great issue. But, blinded by stress, Eric is forgetting the most important thing...
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
A teenage boy navigates the final minutes before his first theater stage performance, which includes experiencing his first kiss. Despite his rising anxiety, he shares a romantic moment with a classmate.
Biscut is a powerful film on the state of politics in Uttar Pradesh and offers a gritty and hard-hitting take on the treatment of the backward classes and their never-ending exploitation in the caste-dominated political landscape of Uttar Pradesh.
Bad Boy of Bonsai is an experimental art-house documentary that focuses on Guy Guidry, a Louisiana local, and his passion for bonsai.
A Tibetan woman collects water near her family's yak farm and brings it back home 80-pounds full, in a ritual that takes her an hour to complete. A selection from Peabody Award-winning documentarian Bari Pearlman’s Nangchen Shorts series.
One year after the death of Simone de Beauvoir (14 april 1986) Delphine Seyrig pays homage by visiting her grave. which she finds still covered with flowers and letters from all over the world.
As Alex struggles with disturbing hallucinations, his wife Vera tries to help, until they both experience their own profound revelations.
A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.
After a dreadful incident coupled with an ungovernable paroxysm of violence, a butcher will fall into a downward spiral that will burn to the ground whatever dignity still remained in him.
This thirty minute documentary features interviews with Giovinazzo's key contemporaries discussing the continued impact and influence of Combat Shock twenty-five years later.
A portrait of the daily life of Zé de Sabino, a fisherman who works and lives in the breathtaking village of Regência, Espirito Santo (located near the Rio Doce, which suffered one of the greatest environmental tragedy in Brazil's history). The vastness of man is a place suspended in time, bordered by sky, land, river, and sea.
Iran, 1984. Homeless brothers struggle to survive in a country at war.