Sometimes people are unfair and don’t value the hours of dedication and effort a serial killer deposits in his work. Another annoying thing are the victims that don’t know how to behave.
Realizador:
Inspired by the diaristic cinema of Jonas Mekas, Malafaya organises the videos he’s been shooting for the past year and half of his life. A visual poem between the nostalgia of beauty and the hunt for images, between boredom and dancing.
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Paulo Malafaya made this film in the school context of his course at Soares dos Reis Art School in Porto, opening a portal to a curious question: what will the director do next, since at such a young age he already manouvres the experimental, essayistic and diaristic language? Influenced by Jonas Mekas and Lukas Moodysson, this is a 17-minute flight that recounts one year and a half, using a hand-held camera and a montage that question and observe, that reposition concepts and offer the vision of a personal solar system. (Mafalda Melo)
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Another hot day in Casablanca’s beach in Marroco. Through El-Faris’s delicate and funny style we witness the emergence of desire in adolescence, the playfulness and curiosity of children and adults trying to be adults in vain.
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Kids and grown-ups on a beach day in Casablanca, Morocco. Nobody is alone, the interactions are multiple, desire and curiosity are out in broad daylight. Playfulness is mandatory and tenderness is unstoppable. At the end of the day, all the irreverence was worth it. As it always is. A film as deeply freewheeling and sweet as the story it narrates, Sukar is a lesson in editing and storytelling, deeply aware of the capacities of cinema as a universal language. (Ana David)
Kids and grown-ups on a beach day in Casablanca, Morocco. Nobody is alone, the interactions are multiple, desire and curiosity are out in broad daylight. Playfulness is mandatory and tenderness is unstoppable. At the end of the day, all the irreverence was worth it. As it always is. A film as deeply freewheeling and sweet as the story it narrates, Sukar is a lesson in editing and storytelling, deeply aware of the capacities of cinema as a universal language. (Ana David)
A mosquito escapes by the skin of his teeth. A tiger tattoo. Collecting evidence of infidelity. Betrayal voyeurism. Adultery and the hunt. Rethinking relationships and sexuality. Adult animation. The smile and the lonely orgasm.
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A woman on the prowl. A constant restlessness. The act of dealing with an infidelity is like looking into a mirror and wondering who will be the most beautiful. But things don’t last forever and small objects make all the difference. And after the doubt comes a curiosity and an inner knowledge and a new life. I am the most beautiful.
A woman on the prowl. A constant restlessness. The act of dealing with an infidelity is like looking into a mirror and wondering who will be the most beautiful. But things don’t last forever and small objects make all the difference. And after the doubt comes a curiosity and an inner knowledge and a new life. I am the most beautiful.
Tauw e Ouman are brothers. Tauw, the eldest, looks in vain for a job. Ouman, 11 years old, looks in vain for monetary support for his religious leader. Different stages of growth, the modern and the traditional in confrontation, in the streets of a changing Dakar.
Summer is hot. By the lake Mia, 11-years-old, asks Hugo, a veteran 15-year-old boy, about his love story with Chaïnes. The language of childhood and its memories around questions of love, touch, torment, kisses…
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The universe of children and adolescents has been a recurring theme in Isabel Pagliai’s cinema. But unlike the traditional way of dealing with the theme, Pagliai subverts it and makes teenagers say what they think, in a very realistic way. In this world of which not much is known, behaviors become adult and it is suggested that perhaps it is in the middle, between naivete and perversity, that most adolescents find themselves. Medium length film, this documentary-fiction carries the time like a burden and densifies it. (Miguel Valverde)
The universe of children and adolescents has been a recurring theme in Isabel Pagliai’s cinema. But unlike the traditional way of dealing with the theme, Pagliai subverts it and makes teenagers say what they think, in a very realistic way. In this world of which not much is known, behaviors become adult and it is suggested that perhaps it is in the middle, between naivete and perversity, that most adolescents find themselves. Medium length film, this documentary-fiction carries the time like a burden and densifies it. (Miguel Valverde)
The dirty dishes have really piled up at the bears’ house of Ned and Mishka, but they don’t feel like tidying up. They’re getting hungry so Ned gets the idea of phoning a raccoon for whom washing up should be no problem.
The German musician Klaus Dinger was one of the founders of NEU! and a drummer for Kraftwerk. He was also one of the creators for the Motorik beat, that influenced much of the German experimental music of the 60’s and 70’s and later artists and bands like Iggy Pop, Joy Division or Primal Scream. Jacob Frössén goes after Dinger’s story and the hypothesis that behind the creation of that famous beat there was a failed loved affair.
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The definition of the legendary german drummer Klaus Dinger’s apache beat could be the melodic pattern that outcomes from the infinite 4:4 loop; if we only used these words, we would reduce his music to its more mechanic sense. Through images as unusual (or even more) than Dinger himself, and the distinctive voice of Kim Gordon guiding us through these images, we are invited to uncover the love story that influenced some of the most important bands of the German rock scene from the 70s. The Heart is a Drum is not only a film about Dinger’s creative process through bands as Kraftwerk and Neu!, but also about the love (and the lack of it) that fed it. (Filipa Henriques)
The definition of the legendary german drummer Klaus Dinger’s apache beat could be the melodic pattern that outcomes from the infinite 4:4 loop; if we only used these words, we would reduce his music to its more mechanic sense. Through images as unusual (or even more) than Dinger himself, and the distinctive voice of Kim Gordon guiding us through these images, we are invited to uncover the love story that influenced some of the most important bands of the German rock scene from the 70s. The Heart is a Drum is not only a film about Dinger’s creative process through bands as Kraftwerk and Neu!, but also about the love (and the lack of it) that fed it. (Filipa Henriques)
From 1922 to 1924, the German art historian Aby Warburg was committed to a psychiatric asylum in Kreuzlingen, Switzerland. Using his writings and clinic reports from that period, this is a journey through his mind, between madness and genius.
—Small film for the giant Aby Warbourg, a compelling author of the Mnemosyne museum. The persistent memory visits tragic elements of the life of the art historian, in the first person. Journals and clinical data complete the biography of an iconic designer. A huge exhibition wall grows and recedes in a progressive immersive distance; figuration of the movement of time, image, sound. Evocative and testimonial moment of Warbourg’s madness, which makes us complicit in the face of this insatiable creator. (Carlota Gonçalves)
Poor Mister Fox! Brothers are always fighting and it is he who suffers most. This time an arm popped out. It’s time for the children to make up and treat Mister Fox.
Light reveals, but can also sacrifice. Working with visual and sonorous improvisation, Reinaldo Almeida explores the connection between the legend of the druids and a mysterious house. An atmosphere exercise that ties what we are told and what we want to tell.
Matthew Rankin’s first feature film is a truly wonderful camp bizarrerie. Sets that call for German expressionism, 80’s television aesthetics and the influences of artists like Guy Maddin, John Waters or even the first works of Peter Jackson. The target: Canadian’s modes and history. This funny pseudo biopic imagines the first formative years of the former Prime Minister of the country, William King, the politician and the naïve boy.
The witch is feeling old. So she decides to do a spell to make her young again. But she is missing a very special ingredient: a baby. The infant princess from the nearby kingdom seems to be an excellent choice. Is it?
Inspired by the Greek and Latin poems that highlighted the arts of agriculture – like the Works and Days by Hesiod and Georgics by Virgil – this a film that accompanies the farm work of a Japanese family, in a little village next to Kyoto. Fourteen months of shooting translate into a eight-hour film that is a magnificent ode to working, to the land, to the soundscape and the passage of time and the seasons.
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Tayoko Shiojuri, a farmer, wife, and woman from a little village next to Kyoto, plays herself in the second feature by C.W. Winter & Anders Edström (The Anchorage) inspired by the Greek and Latin poems on the art of agriculture. Tayoko nurtures her family the same way she nurtures her land, and the Jeanne Dielmann-esque repetition of daily chores, portrayed with the peculiar sensibility of Edström’s camera and enriched with C.W. Winter’s sweeping soundscapes, make their way to one’s consciousness, as do the long hours of the film. The deep connection to Tayoko’s joys and sorrows and the haunting duration of her presence makes one feel with a heartbreaking force both loneliness and peace of living one’s fate, abiding the cycles of nature and the cycles of human life. (Anastasia Lukovnikova)
Tayoko Shiojuri, a farmer, wife, and woman from a little village next to Kyoto, plays herself in the second feature by C.W. Winter & Anders Edström (The Anchorage) inspired by the Greek and Latin poems on the art of agriculture. Tayoko nurtures her family the same way she nurtures her land, and the Jeanne Dielmann-esque repetition of daily chores, portrayed with the peculiar sensibility of Edström’s camera and enriched with C.W. Winter’s sweeping soundscapes, make their way to one’s consciousness, as do the long hours of the film. The deep connection to Tayoko’s joys and sorrows and the haunting duration of her presence makes one feel with a heartbreaking force both loneliness and peace of living one’s fate, abiding the cycles of nature and the cycles of human life. (Anastasia Lukovnikova)
This is a film that accompanies the farm work of a Japanese family, in a little village next to Kyoto.
Combining several animation techniques like digital 2D characters, 3D graphic elements, pastel drawing on live-action print-outs or silkscreen printing, this is an oneiric journey around symbols of death, bright colours and problems with no answer.
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“One day I dreamed that I couldn’t wake up from layers and layers of dreams.” In this animation, dreams explore the contradictions of the self, using different techniques to create a surreal and psychedelic universe where bright colors and a sparkling trumpet disguise the darker side of emotions. (Margarida Moz)
“One day I dreamed that I couldn’t wake up from layers and layers of dreams.” In this animation, dreams explore the contradictions of the self, using different techniques to create a surreal and psychedelic universe where bright colors and a sparkling trumpet disguise the darker side of emotions. (Margarida Moz)
Images of crowd simulation are confronted with testimonies from Liverpool Football Club’s supporters who recall Hillsborough’s stadium disaster, in 1989, where 96 people died. Stadiums are reflected as places for both release and control.
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Nicolas Gourault applies the techniques he has used for Forensic Architecture to his film studies at Le Fresnoy. He uses the possibilities of 3D modeling and crowd simulation software, crossed with the collection of testimonies and archival materials (maps, photographs, television reports) to embody an event from the past that has crumbled in memories, but which redefined the football industry. “This Means More” is an emotionally powerful political essay on the community nature of a sport that is now for the elites. (Ricardo Vieira Lisboa)
Nicolas Gourault applies the techniques he has used for Forensic Architecture to his film studies at Le Fresnoy. He uses the possibilities of 3D modeling and crowd simulation software, crossed with the collection of testimonies and archival materials (maps, photographs, television reports) to embody an event from the past that has crumbled in memories, but which redefined the football industry. “This Means More” is an emotionally powerful political essay on the community nature of a sport that is now for the elites. (Ricardo Vieira Lisboa)
There is a strong connection between parents and their child. A young woman leaves the parental home to see the world. But the world of her parents is so tightly connected with her that by leaving, she puts it at risk. It turns out that this connection can be also destructive.
At the end of the nineties, Reinhart and Widrich invented the “tx-transform” process that inverts the cinematic axis of time and space. Now they filmed in a cinema in Berlin, with 135 actors, using a OmniCam-360. The result is something never seen before.
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Virgil Widrich’s films are conceptual epics (more difficult to explain than to watch). After “Copy Shop” converted each frame into photocopies, “Fast Film” applied the same technique to the history of cinema in origami and “Black Track” returned to that spatialization in a translucent 3D version, “TX-Reverse” resumes the technique of inversion of the space-time axes of “TX-Transform”, now with a 360º 10K camera, in a cinema room where the film itself is being projected. A succession of dancing deformations that, through the most advanced technology, reduce cinema to an art of shadows. (Ricardo Vieira Lisboa)
Virgil Widrich’s films are conceptual epics (more difficult to explain than to watch). After “Copy Shop” converted each frame into photocopies, “Fast Film” applied the same technique to the history of cinema in origami and “Black Track” returned to that spatialization in a translucent 3D version, “TX-Reverse” resumes the technique of inversion of the space-time axes of “TX-Transform”, now with a 360º 10K camera, in a cinema room where the film itself is being projected. A succession of dancing deformations that, through the most advanced technology, reduce cinema to an art of shadows. (Ricardo Vieira Lisboa)