Documentary

Percy Nilegaard collects Swedish single men and embarks on a bus trip to Tallinn with a so-called “highly-experienced driver”.Read More »

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On the eighth floor, Raymond Depardon filmed a minute of silence with eight personalities who worked for the Cartier Foundation for Contemporary Art: David Lynch, Patti Smith, William Eggleston, Takeshi Kitano, Ron Mueck, Jean Michel Alberola, Agnes Varda and Misha Gromov.Read More »

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During his stay in the Yanomami village of Watoriki with the anthropologist Bruce Albert, the French documentary filmmaker and photographer Raymond Depardon filmed in parallel a group of hunters and a group of Yanomami shamans in order to highlight – without having to explain – the close interdependence between the Shamanic metaphysics and the traditional knowledge of the forest.Read More »

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For over two months, Mauro Herce and his crew travelled aboard the freighter My Fair Lady, shooting 14-16 hours a day as it made it laborious journey from Ukraine to New Orleans. Blurring the lines between documentary and fiction, Dead Slow Ahead detaches itself from reality in favour of setting a science fiction, dystopian tone. Welding disparate images and foreboding sounds from deep within the labyrinthine corridors of the ship, Herce has transformed what could have been a dull documentation of life aboard the ship and imbued it with an otherworldly sense of wonder.Read More »

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This film is based on the simplest staging principle: 9 high-level mathematicians have each less than 4 minutes to tell, in front of the camera, what fascinates or moves them, brings them joy, makes them dream or laugh in their scientific activities.

The film was shot for the purpose of the exhibition “Mathématiques, un dépaysement soudain” (Maths: a sudden change of scenery), which took place from October 2011 to March 2012 at the Cartier Foundation in Paris.Read More »

About the Jazz Loft Project

In January 1955 W. Eugene Smith, a celebrated photographer at Life magazine whose quarrels with his editors were legendary, quit his longtime well-paying job at the magazine. He was thirty-six. He was ambitious, quixotic, in search of greater freedom and artistic license. He turned his attention to a freelance assignment in Pittsburgh, a three-week job that turned into a four-year obsession and in the end, remained unfinished. In a letter to Ansel Adams, Smith described it as a “debacle” and an “embarrassment.”Read More »

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Mapplethorpe: Look at the Pictures is the first definitive, feature length portrait of the controversial American artist Robert Mapplethorpe since his death from AIDS in 1989. The one thing more outrageous than Robert Mapplethorpe’s photographs was his life. Intimate revelations from family, friends and lovers are topped only by Mapplethorpe’s candor, revealed in a series of rediscovered, never before heard interviews, made public here for the first time. This is the unique portrait of an artist who turned photography into contemporary fine art with a bold vision that ignited a culture war still raging to this day.Read More »

The Film has three narratives:

the story of Schumpeter’s life,

the development of his ideas,

and how the digital revolution illustrates these ideas.
Stylized drama sequences, in combination with Monthy Python inspired cut out animations, illustrate key aspects of Schumpeter’s life and theory.Successful entrepreneurs such as Simon Woodroffe (Yo!Sushi), Eric Wahlforss (Soundcloud), Stefan Smalle (Westwing) and Renaud Visage (Eventbrite) share the secrets of their success and offer insights into what it takes to be the innovative entrepreneur who Schumpeter identified as the key actor in the capitalist drama.Read More »

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The vanishing point of is the conceptual image of the ‘blind spot’ of the evaluators of aerial footage of the IG Farben industrial plant taken by the Americans in 1944. Commentaries and notes on the photographs show that it was only decades later that the CIA noticed what the Allies hadn’t wanted to see: that the Auschwitz concentration camp is depicted next to the industrial bombing target. (At one point during this later investigation, the image of an experimental wave pool – already visible at the beginning of the film – flashes across the screen, recognizably referring to the biding of the gaze: for one’s gaze and thoughts are not free when machines, in league with science and the military, dictate what is to be investigated.Read More »