The Spanish experimental filmmaker José Val de Omar turns three of his short films into a unitary work, full of meaning: Acariño Galaico; Fuego en Castilla; and Aguaespejo Granadino; creating a total journey through the world of the senses.
Arturo BaltarSculptorTeófilo MartínezNarrator (voice)Ezequiel MéndezNarrator (voice)
José Val del OmarNarrator (voice)
The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.
The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.
Some spaces draw attention, as if they evoke something that’s about to happen. These are the places where we escape when we dream or die. The only thing that exists is time; we wait for the moment to arrive.
Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.
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.
Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.
Then, now, where? how?
Twenty-four images of a camera running in the woods, a moonlight and a cemetery through improvised gestures, mechanical abstraction and saturated colors
Amateur documentary film about the process of moving. A boy, Jakub, decides to make a documentary himself after a tour of one of the apartments. The documentary shows the whole story of how he, his parents and younger brother move to a bigger apartment. The result is an emotional rollercoaster that deals not only with the move, but also with the family itself.
Jo; or The Act of Riding a Bike is Zefier's third film.
For twenty years, three filmmakers in resistance exchange a series of documentary and fictional telegrams from different parts of the world, in the midst of a war of colonization waged by the Western powers.
A stop motion/collaged based independent short film plays with the recontextualisation of memories and how time distorts them.
In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
An experimental meditation on Times Square's marquees and iconic advertising that captures the concurrently seedy and dazzling aspects of New York's Great White Way.
"Labyrinth" is a groundbreaking multi-screen 45-minute presentation produced for Chamber III of the Labyrinth at Expo 67 in Montreal, using 35 mm and 70 mm film projected simultaneously on multiple screens. A film without commentary in which multiple images, sometimes complementary, sometimes contrasting, draw the viewer through the different stages of a labyrinth. The tone of the film moves from great joy to wrenching sorrow; from stark simplicity to ceremonial pomp. It is life as it is lived by the people of the world, each one, as the film suggests, in a personal labyrinth. Re-released in 1979 as "In the Labyrinth" by the National Film Board of Canada in a 21-minute single projection format.
A tactile exploration of the inherent duality of violence and sensuality in nature.
Life is what we don't want it to be.
A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.
A collection of restored prints from the Lumière Brothers.