Experimental

Synopsis: The saga of some Copacabana dwellers: Sônia Silk, a prostitute also known as Miss Prado Júnior and Peroxide Beast; her gay brother, addicted to smelling his boss’s underwear; and Mr. Grillo, the boss.Read More »

The world, life and work of Jaime Fernandes, a peasant born in Barcos (Beira Baixa, Portugal), who was diagnosed with paranoid schizophrenia at the age of 38 and interned in a sanatorium in Lisbon, Hospital Miguel Bombarda, where he died at the age of 69. When he was 65-years-old he started to paint and during the short period of life-time until his death he made a brilliant pictorial work, influenced by the social environment and the sanatorium daily-life.Read More »

A personal essay on the play of children and grown-ups all over the world. The director has shot the film in different countries and cultures: Bali, Brazil, China, Denmark, UK, Haiti, Spain and the USA.Read More »

Orson Welles:
The Territory of others is a treasure that must be cherished by future generations of film lovers as well as by those of today’s generation. All who see this movie will be touched and will find the presence of magic.

Daniel Deshays:
If we had to defend the idea that creativity takes precedence over the cinematographic genre, it would suffice to show / listen to this animal film. It was built as we no longer know how to do it: sound and image together. The editor Jacqueline Lecomte plays with the composer Michel Fano who invents here his own language in a sound and musical hybridity. One of the first environmental films. A poetic universe that Orson Welles described as “treasure to cherish by generations of future moviegoers”.Read More »

Trailers unites the most personal and experimental aspects of underground filmmaking with a scope that is as cosmically vast as a science fiction epic. Rashidi’s ongoing exploration into the nature of cinema sees a group of characters adrift in space, each locked into their own sexual rituals.Read More »

” Cinema plus Psychoanalysis equals the Science of Ghosts” – Jacques Derrida

“At first I thought that ghosts would be forgotten in this new electronic age. But as things turn out, they began to use electronic gadgets for their own purpose. Now they often fly down telephone lines, jump on radio waves, and take you by surprise when you are listening to music. There are many recorded cases of ghosts appearing in electrical shops…”
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“A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint — and in Subrin’s words, “to investigate the mythos and residue of the late ’60s.” Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film.”Read More »

Jonas Mekas’ BIRTH OF A NATION (1997) continues the filmmaker’s investigation into the possibilities of film-as-diary to offer glimpses of key figures of experimental cinema, including Stan Brakhage, Tony Conrad, and Michael Snow, compiled from footage shot over four decades. As far back as the masterpieces WALDEN (1969) and LOST, LOST, LOST (1976), Mekas has been turning his roaming camera on those around him, eschewing conventional documentary in favour of a more impressionistic, subjective engagement with his friends and surroundings.Read More »

Quote:
I began El Valley Centro in November of 1998; I was driving through the Great Central Valley looking for places to film. I wasn’t going to start shooting for at least six months; I wanted to just look and listen – to get to know the Valley well before I would make images. But almost immediately I came across an oil well fire with flames high into the sky. I returned home for my Bolex and Nagra. Determined that landscape is a function of time, I let a full roll of 16mm film (100 feet) run through the camera. At that moment I knew I would make a portrait of The Great Central Valley using 35 two and a half minute shots.Read More »