Synopsis
As the most southern island off the coast of Italy, Lampedusa is relatively close to Africa. This is where Zakaria got stranded – a Somali journalist who fled his country because of the war. He escaped that, but on Lampedusa he wrestles with fears and existential questions. Here he meets Giulia, an ageing woman facing a personal crisis on the same island. Together and separately, they try to get a grip on life.Read More »
Synopsis
Austrian experimental documentary maker Peter Schreiner undertakes a psychoanalytic quest for human existence. It’s a cross between Freud and Sartre, magical and minimalist, as long as you dare.
Two wrinkled lovers, marked by life, expose their deepest inner emotions. Giuliana compares the vaults of her spirit with closed doors that you ‘have to open cautiously’. ‘But,’ Christian wonders, ‘does that make you happier?’ They talk slowly and calmly, looking for the right words for their inner demons. It all comes down to reason and feeling and where the two meet. About reality that looks both familiar and alienating. Read More »
A couple equipped with digital cameras travels by the Trans-Siberian Train. She (Joana Preiss) is a known actress and a model. He (Bruno Dumont) is a world-famous and valued director who decides for the first time to stand on the other side of a camera. Instead of the picture of the merry couple, the bitter portrait of the relationship that is falling apart emerges from “Siberie”. Bruno and Joana record theirs confessions, doubts, moments of happiness and moments of weakness. They talk about love, desire and art. Austere and endless space of Russia that is seen behind the windows of the train puts their feeling to the test.Read More »
PLOT
Young people playing and dribbling with a ball, as seen from the ball’s point of viewRead More »
Deck brings emphasis to the bodily experience of temporality. The principle of harmonized rhythm underpins all of Pierce’s work from the shooting (live animation) performance, to its editing and sound design, and finally in situating its reception. In all of his video and sound art, repetition and rhythm manifest the echoes and arcs of our irregular and subjective conjectures of time.Read More »
Synopsis
Things spin: amusement park rides, a phonograph record. A man wakes, shaves, and takes a phone call. Another man, in a kimono, walks in the woods, stops, and opens a small decorative box on the forest floor. People at an amusement park called Little Harlem enjoy themselves. A man walks through another amusement park, called Cavalcade Worlds, as midway rides spin. At a house, an older woman cleans; a pre-teen girl sets the table; a teenaged boy showers. After he dresses, he holds a candle high above his head and walks swiftly toward a young man standing bare-chested, his arms extended. A man arrives home where the girl has set the table. The youth sleeps. Christmas?Read More »
Between documentary and fiction, The master and the giant approaches the topic of the rivalry in the creation: a first God created the world, a second God destroyed it to build one new, better. Myth and reality meet in this film that puts in scene two different universes: a man and a woman in a neighborhood in demolition of Amsterdam, and images of the life in the confines of the tunecian Sahara. (Written in collaboration with Claude Ménard.)Read More »
The shooting diary of a film shot in France and in the United States. Using photos of Paris and of New York City, excerpts of his former films, statements by friends of his and shooting sequences of the film itself, tormented filmmaker Marcel Hanoun has made a heterogeneous and unclassifiable film about the difficulty of filming.Read More »
Quote:
In early spring of 1966, in anticipation of his eventual departure from the Greenwich Village apartment in which he had been living for a number of years, [Markopoulos] filmed the revelatory seven-minute interior portrait Ming Green , titled for the deep spruce color of the apartment’s walls. Ming Green was edited entirely in-camera, and its precise rhythmic blossoming is based on overlapping dissolves and longer flashes, rather than single-frame clusters. The film’s complex harmonic structure, however — as well as its incorporation of often static, “single” images that may be comprised of more than one frame — echoes the montage techniques developed in Twice a Man (1963). Interweaving mementos with foliage, color, and light, Ming Green suggests the inextricability of past and present: despite its exquisite lightness, it could represent the passage of hours and days rather than minutes. -Kristin Jones, Millennium Film Journal, 1998Read More »