With a theatrical staging, this film gives voice to 13 women who express – through facts, myths, opinions, humor – their views regarding the conditions that surround childbirth in French hospitals and the treatment of women in such a vulnerable moment.
Tom R. disappeared, leaving no trace, somewhere between the cafe where he always went and the street he walked every day. After 23 years, a team tries to make a film about what happened and, ambitiously, find a solution. But the mystery does not seem to want to unravel.
A musical that sublimates the moving side of its narrative, although with a slight smile appearing at the corner of its lips: two people, in a couple, who live in different countries decide to end the relationship, but they will have one last day together.
The neon colors are not here to distract, rather they point to the dreamlike quality of this film that tries to address, without being moralizing, issues related to consent. A surprise party turns out to be the trigger to explore the dynamic between victim and abuser.
The camera wanders into a park and surrounding residential area. Changes and new construction works are coming, but for today, two friends take one last intimate walk where they expand time, avoiding parting.
The black square in the middle of the screen. The contorting human figures. The succession of images in constant visual and sonorous assault. An audio sample of the opening of the 1965 Op Art exhibition, The Responsive Eye. Five minutes of extreme sensory experience.
In the midst of unusual visual references to eggs, the focus of this film is Avelardo’s birthday, in this world populated by birds, ducks and other animals, and almost everyone’s invited. Amidst the celebration, there are arrows flying over our protagonists.
A film that results from a conversation that the director has with his mother in which he asks about the day he was born, opening an intimate door not only for the relationship between mother and son, but for the life experience of this woman.
If museums are institutions that preserve cultural history, they are also spaces for selecting what kind of objects, therefore which aspects of history, are chosen for preservation. This decision is made, for the most part, by men. At the same time, museums around the world are full of portraits of women. This imbalance calls for a reaction. Here, the Museum der bildenden Künste Leipzig collection is seen through the eyes of girls aged from 7 to 19.
Every Saturday, this hunter sets out to find prey. The tradition is interrupted by a novelty: he finds a prey that he has never encountered before. Not wanting to leave him behind, he brings him home, which is immediately invaded by the chaos of the new companion.
He comes home in tears. She cooks dinner disregarding the distance that has permeated their existence. But they aren’t ready to give up on trying to bridge it. Perhaps they can meet halfway.
Joanna Quinn’s idiosyncratic and funny style recovers the character Beryl to explore her eccentric family – Colin, the geek son; Ifor, her husband, who became Beryl’s model and inspiration; and the narcissistic sister Beverly –, and the various obsessions that plague them.
Heliconia is textures (those of the film), colors (those of nature), heat (that of summer) and bodies (hanging from trees, eating mangoes). A synesthetic symphony where fourteen-year-old Maria goes in search of paradise on Earth with her brother and his friend Adrian.
Filip Jan Rymsza, who had already produced The Other Side of the Wind – A Welles film kept in a shelf for 40 years and released in 2018 – returns with this conversation between two magisterial figures of American cinema, filmed in 1970. In the two hours of this visual document unknown until now, the two directors vividly debate, questioning the nature of their work and violence in the United States, among other topics. A historical record.
A film that comments on the most pure and elemental parts of human nature. With the emphasis on the word “magician”, whose root signifies a wise person, we are taken on a journey in which the real magic is in the attention we pay to our instincts.
Miguel and his uncle, Kechus, are making a vampire movie together. Kechus has big hands and a long, lean face (perfect for a vampire) and, with a cape and fangs, he would be flawless in the main role. But Miguel doesn’t like to think of his uncle as a vampire.
A film about and with Matthew Herbert, a British electronic musician and activist. In this documentary, the director accompanies Herbert through his creative process of an idiosyncratic project: writing a book in which each chapter painstakingly describes a piece of music and it’s up to the reader to imagine the symphony.
Pure visual ASMR. Excerpts of videos found on the internet – of the “oddly satisfying” variety – are assembled in such a way that it creates a piece of video art in which loops of sounds and images fabricate an elastic, palpable and undulating texture.