Korean actress KIM receives a letter from Japanese director SUWA, who says he wants to work with her in Hiroshima. However, when she arrives there, no one knows where SUWA is.
Secção: Retrospectivas | Retrospectives
A mutant project shot and screened in raves, parties, clubs and tecno-sets of every kind.
A ‘dog-u-mentary’ about birth, loss and near death. The film follows 3 adults and 1 dog named Lola through Lola’s pregnancy, the birth of her puppies, and the loss of each puppy to their new owners. Often funny and ultimately sad, the piece explores our love and attachments to dogs and our projections onto animals.
Found-footage veteran Jay Rosenblatt at his very best. Initially cheerful film that gradually develops a suffocating inevitability. Because every question from this brand-new visual poem only has one possible answer…
A man visits his parents and empties the contents of his mind through a series of absurd and serious vignettes. The film explores the dynamics which form identity and self and at the same time help to deny them. The therapeutic relationship is enacted metaphorically with the parents on the couch and the son as the therapist. Some chilling moments are reached.
A haunting and humorous film about romantic relationships and insects.
Ship-buildings, train-buildings, breathing-moving space arkitekture. A kinepoematic point of view of the work of the brilliant Portuguese Modernist Cassiano Branco.
It is either about indecision or maybe it is about making a decision. Maybe both?
In the middle of Vienna stands an old tenement building, and time has left its mark both on the house and its inhabitants. Here, time passes at a strange pace. Floor by floor, the visitor can discover small self-contained worlds: grousers, collectors, the forgotten, people with obsessions, concealed and exposed passions. Then, however, death makes its entrance for the first time, sweeping through the stairwell. The owner of the house, a resident himself, dies. His nephew, an entrepreneur, inherits the building and acts immediately. He moves out, takes up lodgings, hands out notice to quit, renovates and devastates. One goal hovers before his eyes; to get rid of the tenants and make money out of the property. Gradually, the closed doors begin to open, and with each outrage committed by the new owner, the residents are drawn closer together. A minor official, plagued by persecution mania, fears a dreadful end to the matter. Though the signs he sees of this are all wrong, nevertheless, the outside world descends upon the house and his inhabitants.
Two women in two different countries, leading different lives. One lives Austria, one in Yugoslavia,. But yet their lives are strangely entangled for a moment in time. What if you wake up in somebody else’s head and the city around you that isn’t the one you used to know?
Given the context of atrocity, one individual, a night watchman who sleeps by day, faces his existential aloneness in the confines of his motel room.
The trials and tribulations of truly independent filmmaking and the quest for the perfect shot.
May 2002. Like David against Goliath, Leixões Football Club faces Sporting in the Portugal Cup’s final. As in a procession, the supporters of both clubs religiously head to the stadium. Through their faces and reaction, we watch as the football game changes into a messianic spectacle.
Video performance by and with Portuguese poet Alberto Pimenta.
This drama in three acts depicts the journey of the Austrian national soccer team to the World Cup finals in France as seen through the eyes of a journalist, a bank examiner and his mother, a pensioner, an alcoholic, a large family, a coach for a child’s team and a blind man. Against the backdrop of the games against Cameroon, Chile and Italy, this film tells a story of faith, love and hope in front of the television screen ‚ the screen which shows some of the world’s inhabitants sitting before it, mesmerized. I should really have made a film that was critical of sports. However, I happen to love soccer. The disparity was bound to prove either fatal or fertile. At all events, I decided against setting up my camera behind the scenes and positioned myself where I’m to be found at any soccer game: sometimes in the stadium, more often in front of a television set. (Michael Glawogger)
Mary Shelley’s writing combines with Boris Karloff’s performance to rework the story of Frankenstein. In five minutes the monster moves through the very human journey from self-hatred to self-acceptance.
A sudwestern odyssey and an echo of a satire to a parallel Portugal, where cowboys and indians are unemployed…
H STORY playfully blurs the line between drama and documentary as it examines the impact of history (both world history and cinema history) on contemporary lives. Suwa plays himself as a filmmaker struggling to remake Alain Resnais’ classic Hiroshima Mon Amour. He’s hired Béatrice Dalle and Hiroaki Umano to play the parts originally played by Emanuélle Riva and Eji Okada. I integrated Resnais’ film in my film not because I liked it, but because I couldn’t avoid it. I consider it as medium with which I could maintain a dialogue with. Resnais’ film opened a window to Europe over Asia. I also wanted to open that very same window, but in the other direction. (Nobuhiro Suwa)