António, Zé Maria and João live in the House as they build it. For two years they restarted processes over and over according to their functions in the House. The transformations of the rooms forces constant changes in its organization. The rooms for eating, dressing or relaxing change. As do the inhabitants. Time passes. The inhabitants move into and out of shot. The camera doesn’t follow them. It stays there focusing on the particular. Natural light invades the geometric spaces, intensifying as the work advances. The sound environment also changes. The silences intensify. The contrasts are stronger and stronger. At the end we see the men who make the film for some, the work for others, or simply a house.
It was January 1968. Tucked away in a gray prison cafeteria in Northern California, hard men doing hard time witnessed the making of a legendary album. “Johnny Cash at Folsom Prison” remains one of the greatest live albums ever made. Cram’s film is a moving portrait of Cash as well as two inmates of Folsom.
Portrait of a young man. He lives with his girl friend. He is a plumber and has to repair a swimming pool. He works, he wanders around, and climbs where he can.
With a trifling use of institutional images from the 20th century American collective, the film revisits the time of Taylorism with the exchange of letters between husband and wife. As the theory fails empirically at the factory, the term reorganization applies perfectly to the domestic economy. (Miguel Valverde)
This fascinating documentary chronicles the recent restoration of Georges Méliès’ fantastical A Trip to the Moon to its original 1902 colors. Includes interviews with contemporary filmmakers such as Costa-Gavras, Michel Gondry, Michel Hazanavicius and Jean-Pierre Jeunet on Méliès’ enduring significance to cinema.
One evening, my grandfather Tahar died in palliative care. Zouina, his stepdaughter is there. Aziz, his son is there. Fayçal is there. I am there. God is not there? Kamel arrives too late.
Webster convinces his wife and two children that the whole family should go on an oil diet, yet without having to give up their middle class suburban lifestyle. In this comedy of errors they find themselves questioning their values and putting to test their will power and ultimately, their happiness.
Curtis LaForche lives in a small Ohio town with his wife Samantha and six-year-old daughter Hannah, who is deaf. Money is tight, and navigating Hannah’s healthcare and special needs education is a constant struggle. Despite that, Curtis and Samantha are very much in love and their family is a happy one. Then Curtis begins having terrifying dreams about an encroaching, apocalyptic storm. He chooses to keep the disturbance to himself, channeling his anxiety into the obsessive building of a storm shelter in their backyard. His seemingly inexplicable behavior concerns and confounds Samantha, and provokes intolerance among co-workers, friends and neighbors. But the resulting strain on his marriage and tension within the community doesn’t compare to Curtis’ private fear of what his dreams may truly signify.
Dom works the night shift in a small hotel near the industrial sea port of Le Havre. One night, a woman arrives with no luggage and no shoes. Her name is Fiona. She tells Dom she is a fairy and grants him three wishes. Fiona makes two wishes come true then mysteriously disappears. Dom, who by then has fallen in love with Fiona, searches for her everywhere…
Terri is an oversized teen, always late for school and with so little motivation that he wears pajamas in the class. That’s how he dresses at home, where his uncle constantly criticizes him, and he won’t change, not even to receive a guest who just happens to be the prettiest girl in his class. A therapist would say he is depressed, but Mr. Fitzgerald (John C. Reilly), a school counselor for the problematic ones, receives him in his office for truly enlightening conversations about being more than meets the eye. As with his colleagues, Terri always leaves us on the outside, as he walks reluctantly to the sound of a female voice singing his tragedy. Shot in Los Angeles, this is a drama and a comedy about cruelty, sexual awakening and friendship. You’d think you couldn’t find new information in the vastly explored high school setting, but Azazel, son of experimental filmmaker Ken Jacobs, shows that there’s plenty more to say about it. (Ágata Pinho)
A love and hate relationship between two adorable siblings that simply can’t keep their mouth shut. Constant mumblecore, sarcasm and nervousness in this grayny road trip where Colin takes off with his sister, J.R. They stay at motels, pretending to be married, they are visiting ex-boyfriends to get J.R.’s stuff back and crash parties of highschool friends. Irony and cynicism covers their vulnerability that is impossible to be hidden by one another, dynamic and fresh dialogue between them signifies the intense verbal and non-verbal chemistry ready to break down taboos, questioning our morals. (Nina Veligradi)
Tomas is a little bit too old to still be living with his parents, but his dream of becoming a magician leaves him with no other option. His father just wants him to grow up and get a proper job. At dad’s birthday party Tomas gives his parents, the guests and the beautiful new neighbor Monica a bizarre magic show.
Kempinski is a mystical and animist place. People emerge from the dark, holding fluorescent lamps; they speak about a magical world. “Today we have a space station. We will launch space ships and a few satellites soon that will allow us to have much more information about the other stations and other stars.”
A home-made Super-8 musical. On the eve of his 30th birthday, a supermarket plebeian attempts to forge a profound connection with a flighty belle. From the midst of melancholy burst those brief, deceptive moments when everything feels like it is going to be fine.
A young man leaves his native town in southern France to discover Paris. Being too inexperienced and too naive, he drops into the reality of Paris 1991. He soon gives up his dream of becoming an actor and prostitutes himself. Throughout all these modern relationships, he keeps his innocence but becomes very emotionally blocked.
That stupid boy is Loïc. He who confuses desire and pleasure, friendship and sex, admiration and success. Loïc, who tries to compensate for what life failed to bestow on him before he grows up. Loïc is not a stupid boy. One day, he will also try to put together a story.
Ha-young, a 9-year‚old girl, loses her key so often. After school, she can’t get in her house without the key because her mom is at work. Finally she finds out the way to make it.
What can you do on the only day of the week when nothing happens? Sundays are traps where the imagination is the only way out. Listening to opera in a dishwasher or recreate a mess in a transformed space are valid choices when you are alone and bored. (Possidónio Cachapa)
