A film about the black head Carranza sheep and the ways of subsistence cattle related to them in Karrantza Valley (Bizkaia, Spain). A series of seven in-camera edited Super-8 reels explores the link between grass, sheep, feeding, wool, milking, cheese, threads. It is a project that began with the recalling of first moving pictures of sheep (MOUTONS ENTRANT À L’ABATTOIR, Lumière Brothers, 1896) and with the correlation between wool spinning and the film rolling pace.Read More »

Synopsis wrote:
After the death of his mother, middle-aged insurance employee inherits her small cottage surrounded by a garden. Selling the cottage which is situated on unexploited ground near the center of a big city makes him a rich man and he buys a big house in the countryside. He takes some time off and decides to throw a big garden party at the house and invite all his colleagues from the office. Aided by alcohol, the guests gradually lose all their inhibitions and reveal personality traits and frustrations that they normally keep hidden.Read More »

Synopsis:
‘George takes care of his invalid wife and holds down a full-time job but is forced into retirement for health reasons. When an investment firm wipes out his life savings, George takes up a life of crime. He is soon driven to the brink of insanity over the unfortunate series of events that transpire.’ [Edited to correct inaccuracies.]
– Dan PavlidesRead More »

Eleventh reel of a project that starts from the novel “Voyage autour de ma chambre” by Xavier de Maistre. Isn’t memory a color film? Isn’t it a color memory film? “Cinema? Yes, it is a procedure. Red is also a procedure. […] I hope I have made a film, a procedure. Blue is also a procedure.” (Marcel Broodthaers, “Cinéma”, p.66) “It can also happen that that object that I now see yellow, tomorrow will see it orange. The two sensations are what they are, and they demonstrate it by ‘imposing’ their content on me, already yellow and orange. So I must say: in your case – yesterday – I saw O yellow, in another case – today – I see O orange. microscope, I see it in a different color or another way. I have not been deceived in the first case. I have simply seen it without the microscope. I would be deceived if I tried to assign to the second experience the color value of the first, or vice versa. ” (Ignacio Gómez de Liaño, “Philosophical Illuminations”)Read More »

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A MassArt student film that finds Robertson experimenting with the complex multiple voices that would play a major role in “Five Year Diary”.

— Punto de VistaRead More »

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A journey through Italian landscapes as seen through the windows of several long-distance express trains.Read More »

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Apologies explores Robertson’s compulsive sense of guilt and the corresponding need to make apologies. Although the film deals with the quite serious subject of mental disability, the candidness of Robertson’s self-exposure begets a playfulness and a sense of wit. The film consists of a play with multiple temporalities through editing both image and sound.

— Taryn Marie Ely, Ghosts in the Closet: Catastrophizing and Spectral Disability in Anne Charlotte Robertson’s ApologiesRead More »

Synopsis:
John Ford’s landmark Western revolves around an assorted group of colorful passengers aboard the Overland stagecoach bound for Lordsburg, New Mexico, in the 1880s. An alcoholic philosophizer (Thomas Mitchell), a lady of ill repute (Claire Trevor) and a timid liquor salesman (Donald Meek) are among the motley crew of travelers who must contend with an escaped outlaw, the Ringo Kid (John Wayne), and the ever-present threat of an Apache attack as they make their way across the Wild West.Read More »

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This winner of the Golden Lion at the Venice Film Festival in 1947 is a social drama directed by Karel Steklý, whose style has much in common with Italian Neorealism. The main themes of Steklý’s post-war film output were social inequality, oppression, and the exploitation of the proletariat. The film’s story, which was inspired by two chapters of Marie Majerová’s novel of the same name, follows this very thematic line. Siréna depicts industrial Kladno at the end of the 19th century when a miners’ strike over low wages was uncompromisingly suppressed by the gendarmerie. The film’s impressiveness is partly rooted in the convincing depiction of the mining milieu as well as in the sombre music of E. F. Burian. The film focuses on the Hudec family, whose young daughter Emča (Pavla Suchá) serves as a symbol for the suffering of the working class in the heroic struggle against capitalism.Read More »