A workshop film made with a group of students of the Pietro Zorutti School in Palmanova, Esercizi di Cinema is an experimental adaptation of Raymond Queneau's book Exercises in Style.
Ellis Donda
as Himself
Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.
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.
Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.
Experimental educational film reveals the emergence of some ideas of Biophysics in historical, philosophical and methodological aspects. The first film from the Biophysics Cycle (1982-1989).
THE SCREEN TESTS OF COSMOTROPIA DE XAM A collection of 12 screen tests from all over the world, based on a direction sheet of Cosmotropia de Xam. Starring: Elzabeth Hart of Psychic Ills, How I Quit Crack and Aura, Carmen Incarnadine, Shivabel, Black Madeleine, Jenni Hensler, Agnes Pándy, Suzy Poling, Omebi, Sarah Toon and Owleyes, Dania Myers, ∆AIMON
Two halves split by the perseverance of a scorpion. Come on, feet.
Two friends walk and draw circles. It is what it is, idizwadidiz, c’est ce que c’est, seskecé. Nice weather.
The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.
A small portrait of the volatility of intimacy and of breaking free from abusive cycles: made in response to a year of collapsing relationships and violent accidents that left me broken, dislocated and stuck in my apartment.
The last woman on Earth: Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments and visions of the future. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of humankind’s relationship with the natural world.
An eight-hour contemplative epic, entirely starring sheep.
For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.
'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra
The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.
A look at why Hamlet, a play that’s over 400 years old, holds a mirror up to society today. Filmed across four days of workshops with youth theatre groups across London: The Big House, Bush Theatre Young Companies, Centre 59, and Open Door.
A collage of newsreels, trailers, clips and other visionary and unseen fragments of sight and sound regarding the late plastic artist Helio Oititica.
This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.
A thrillingly lo-fi salute to the old-school, hand-crafted special effects that were once a mainstay of pre-CGI science-fiction films.