The film shows us Ingmar Bergman’s life and his key films as seen and told by the greatest actors and directors of our time. Candid, funny and explicit interviews with the likes of Lars Von Trier, Martin Scorsese, Robert De Niro, Woody Allen, Isabella Rossellini and Michael Haneke – some shot at Bergman’s last home on the island of Fero – interwoven with unreleased footage from behind-the-scenes of many of the Swedish master’s films.
Walk in the Flesh takes the original images of Scanners by David Cronenberg subjects them and the sound to a robotic and repetitive treatment, and thus gives them a new reading.
Un Chat sur l’Épaule is a story about cinema: for forty years, in his Grenoble workshops, Jean-Pierre Beauviala has been inventing cameras that made the emergence of a light-weight, in-the-field cinema possible. Today, the camera market is saturated with new tools. Everyone experiments new ways of film-making. In cinema, celluloid and artisanship are gradually becoming a thing of the past. And yet, Beauviala keeps on inventing. What Utopia does he still pursue?
In A Masque of Madness (Notes on Film 06-B. Monologue 02), a feature length experimental film, the British actor Boris Karloff (1887-1969) embodies approximately 170 different characters. An acting career spanning 50 years (1919-1969) is compressed into one twisted movie. The protagonist experiences a schizophrenic horror trip in which he faces only versions of himself in different masks, at different ages, of different genders and races. This nightmarish concept film is both a tribute to a great actor and a crazy film history lesson.
Few filmmakers have had as enduring an impact upon the art of filmmaking as Bernardo Bertolucci. Over a 50-year career, spanning such classics as The Conformist, Last Tango in Paris and The Last Emperor, Bertolucci has reshaped Italian, art house and Hollywood cinema, as well as winning almost every film award you might care to name. Now cinephiles Luca Guadagnino and Walter Fasano have compiled the essential document of this titan’s life in his own words. Cutting together hundreds of hours of interviews and archival footage, Guadagnino and Fasano let the Italian master be the judge of his own legacy, providing a rare first-person tour through one of the world’s most important cinematic minds.
It’s not just horror directors, futurists or animators who have tried their hand at the third dimension. No, the great master of suspense himself, Alfred Hitchcock, had a go with the latest thing in 1954, filming Dial M for Murder in the format. But by the time the film was ready for release, the hype for the format had died, and not enough theatres were willing to show the movie in 3D, so it was released without the extra oomph.The story evolves around an ex-tennis pro who carries out a plot to murder his wife; when things go wrong, he improvises a brilliant plan B. The film a rare opportunity to see Hitchcock having a ball, playing with his new toy.
Gabe Klinger documents the unique friendship between the renowned filmmakers James Benning and Richard Linklater over the course of a few days in Austin and Bastrop, Texas, while the two filmmakers presented Benning’s films at the Austin Film Society, played baseball at Linklater’s home, visited old shooting locations, and shared memories over long meals and hikes. Combining this newly filmed material with extensive archival elements, Double Play attempts to find Benning and Linklater’s similarities and at the same time contrast their disparities.
Using 35mm films left behind in decaying cinema theatres, Head, Tail, Rail shows the forgotten images of the commercial cinema industry by giving a new meaning to its edges which are now assembled in a new audiovisual composition.
Mr leos caraX tackles the complex artist—a cult figure since his first feature—by plunging the spectator into the poetic and visionary world of his films. By means of exclusive archival materials, interviews with his closest collaborators (such as Denis Lavant), and excerpts from his favourite films, this documentary attempts to put together a few pieces of the Carax puzzle. What emerges is an immersive and dreamlike portrait inspired by his singular artistic vision. Sit back and let yourself drift into the world of this unparalleled visual poet.
In Memória Da Memória, Paula Gaitán, filmmaker, photographer and visual artist proposes a “film-essay” made with Super 8 footage. “The one with no limits, filled with affection and imagination” it says.
From the testimony and personal experience of filmmaker Alberto Seixas Santos and his thoughts on the history of film, a filmic memory is rebuilt through an editing process. A dialogue between images from his films and reference to filmmakers he admires, whose films pervade this documentary like ghosts haunting reality. For the director, the key issue with cinema, as with painting, music and art in general, is that the only works that live on are those that have taken risks.
A rapturous elegy to a rich era of film production in Egypt, through one of its most revered actress: Soad Hosni, who from the 1960 into the 90s, embodied the modern Arab woman in her complexity and paradoxes. Pieced exclusively from VHS footage of films, it’s constructed as a tragedy in three acts where the actress tells her dreamed life story.
A portrait of HPG, actor, director, and producer of pornographic films, entirely assembled from thousands of hours of behind-the-scenes footage. More than a simple archive of the world of porn, this documentary film questions the nature of pornography and the passion for the real that characterizes it.
Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, I’m Not the Enemy cuts open the ways in which a society engaged in war deals with the guilt of problematic returns. How is the war veteran ever to find any degree of acceptance?
Constructed as a triptych where the whole is intended to be greater than the sum of the parts, using industrial and documentary film footage from 1940-1975 to follow the endless chug of the conveyer belt of life. A symphony of movement and metamorphosis, images of factories, educational and creative industries.
In 1993, Paulo Seabra bought, cheap, all the assets of the photographic studio Paris, in Lisbon: tens of paper boxes, with hundreds of boxes and thousands of negatives. In this first and exclusive version for the IndieLisboa festival, the film documents the opening and discovery of much of these negatives.
An ontological investigation into a place where cinema becomes something more than cinema. Filmed in high-definition color over five days in the Canary Islands of Fuerteventura and Tenerife.
A young, inexperienced film critic, François, has a girlfriend and falls in love with a well-established female colleague, Rosa. A kinky relationship develops between the two of them, leading François to discover the inner workings of desire: desire of a woman and of a critic. Until the day his cheating is discovered.