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One of the most adventurous filmmakers to emerge from the Philippines in decades, Lav Diaz is, in many ways, the spiritual father of what some have called the Filipino New Wave, a group of filmmakers who have adopted digital technology to create an intimate and raw style. At the same time, he stands separate from them, often working on an epic scale and addressing historical shifts in Philippine society. (See his epochal Ebulysion: Evolution of a Filipino Family.)Read More »
Facing seizure of their own lands, two families find themselves farming together on the same field, hoping just to get through another rice-farming season. But no matter how much the world is evolving, how much the country is going through economic, political, and social changes, they still cannot grasp the new ideology of “happiness.” How can you dream of utopia when your stomach is still grumbling?Read More »
IMDB:
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color and the projection speed.
“Ce film n’est pas l’illustration d’un récit historique ou d’une pièce de théâtre mais il est structuré par sa dynamique propre et trois éléments basiques: la lumière, la couleur et la vitesse de projection. Par leur interaction il vise le regard du spectateur.
Le film propose un questionnement sur:
1) ce qu’il génère c’est-à-dire sa propre histoire;
2) l’imaginaire du spectateur et son regard;
3) le seul dehors questionné: le devenir de l’image qui est sa seule possibilité d’être. (…)Read More »
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A sweeping meditation on global commerce, labor and geography in the 21st century which chronicles the birth, life and death of a merchant ship.
“The sublime is no more strongly felt than in Peter Hutton’s magisterial At Sea. Put simply, the film tells the story (“the birth, life and death”—in the director’s words) of a container ship—but there are no words to adequately describe the film’s awesome visual expedition. Hutton knows the sea. His experiences as a former merchant seaman have informed his filmmaking practice, known for its rigor and epic beauty. Read More »
Experimental educational film reveals the emergence of some ideas of Biophysics in the historical, philosophical and methodological aspects.
First film from the biophysics cycle (1982-1989).Read More »
Synopsis:
Adapted by Nichola Bruce from the acclaimed photographic novel by Timothy O’Grady and Steve Pyke. I Could Read the Sky is a haunting and lyrical film about identity, love, loss, and the isolation and loneliness of the immigrant. Dermot Healy movingly portrays a man reflecting upon his life, from his rural upbringing on the West Coast of Ireland to his journey to London and experiences in the vividly modern metropolis. Driven by a dynamic music soundtrack that draws from both environments, the film is a labyrinthine, visually extraordinary journey into the textures, fragments, details and layers of one man’s life and memories.Read More »
Synopsis
The autobiography, both real and imaginary, of Marina Abramovic [1], Body Art artistic. The film composes the life aesthetic of a woman in her era, with a personal history strongly marked by the Yugoslavia of Tito, everyday violence, the experience of physical and psychic limits… The voluntary evocation of the past makes something more secret, more intimate crop up: an unknown evolution that is embodied in fictions felt like authentic fragments of truth. Balkan Baroque jumps from one identity to another, from a true story to an imagination, from a dream to a ritual… – the language of the body often taking over from the word, interrupting it or, on the contrary, stimulating it.Read More »
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This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations, such as the woods and fields around Wuppertal, the city centre, the suspension railway, a carpet shop, a greenhouse and the rehearsal room. The futility of human activity and the search for love make up the film’s central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.Read More »
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Employing natural sound and contemplative proscenium shots, Benning skillfully composes a series of pure and majestic images that at once evoke a sense of nostalgic splendor as well as deliver a subtle, yet penetrating, political commentary. Benning tells the story of how water irrigates this valley and how the produce is carted away in boxcars for the nation’s consumption. He shows the lifestyle of a modest and growing rural community, whose concerns are often drowned out by the powerful railroads, oil companies and insurance conglomerates which own the farms and ranches and benefit from undocumented immigrant labor while insisting on imprisoning an American population of color.Read More »