American Teenagers

Driven by a personal interest in finding out how people deal with the sudden loss of their familiar structures and surroundings, director Jonas Kaufmann embarks on an emotional journey on behalf of Generation Z. A journey with the aim of finding the one inviolable point of human existence that gives us support when everything is lost. In our documentary, protagonist Roman Sachuk and Jonas Kaufmann take on the challenge of providing partial answers to the central questions of a generation in crisis.

Filmmaker Jonas Mekas films 160 underground film people over four decades.

Made over six years in the hotels of six different countries, Hotel Diaries charts the 'War on Terror' era of Bush and Blair through a seven-part series of video recordings that relate personal experiences to the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine. In these works, which play upon chance and coincidence, hotel rooms are employed as 'found' film sets, where architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.

An epic portrait of the New York avant-garde art scene of the 60s.

On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.

An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.

Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.

A short documentary chronicling the coming-of-age story of generation z punctuated by numerous culturally significant moments, known as period effects, that have bred a generation of young activists.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Aussie boys of Asian descent candidly discuss their status as a "minority within a minority".

A student's increasingly intimate line of questioning causes his interview with a local horror host to take a vulnerable turn.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

A short documentary by Jim McBride.

A personal documentary questioning the ways in which family imposed narratives force us into roles that we spend our lives either rebelling against or conforming to.

An unhinged, diaristic examination of devastating friendship breakups.

The day with the sky neither too blue nor too grey. With a hint of red. The train crowded and the backpacks between the feet. The loves on every corner, the ones we pretend not to see.

This short experimental diary film reveals my struggles with mental illness in my adolescence and queer adulthood while simultaneously reflecting upon my joyous childhood experiences. I investigate when and how my depression began and explain that my relationships with the people I love have supported me through my harder times. The film incorporates footage shot over May and June 2023 and archival home videos. Overall, I aim to resolve my "growing pains" through the medium of diary film and by reconnecting with my younger self.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Sara and Alberto spend their days at home. They look out the window and watch: spring is approaching and the sun is setting later and later. Alberto entertains himself by playing with the light, the shadows and the nooks and crannies they leave on the living room. Sara goes out on the balcony in the evenings and examines the neighborhood with her camera. When they are in bed, they talk about what worries them. About job expectations. About being creative and why keep trying, if someone else has done it before you. About living in confinement, but at the same time, realizing that things haven't changed as much as they seem.