American Teenagers

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

Somewhere between a diary and a filmed letter made while Caroline Champetier was shooting Benoît Jacquot's film L'Intouchable in India.

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

An enigmatic glimpse of life through precarious vignettes, propelling a narrative through a nebulous and opaque structure that sutures the filmmaker's home movie footage to archival material—from Hollywood narrative films to political selfie videos. A handmade impression of a time suspended between past and present and the ghosts and places occupying it, contemplating the nature and meaning of vision, memory and image making.

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.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.

Drawn from footage shot between 1949 and 1963, Jonas Mekas’s autobiographical diary film chronicles his early years in exile, capturing the struggle to build a new life in New York and his gradual discovery of a vibrant artistic community.

Corrupt Colour follows childhood friends and self-proclaimed internet pop-stars, Emily and Gia as they set up their first live concert but their delusions of grandeur are compromised when the live show of their dreams becomes a nightmare. The show must go on and with the help of their closest friends, irreverent leads Emily and Gia are forced to reckon with their true place in the public eye. With poignant lyrics, loud personalities, and unique creative decisions, Emily and Gia take us on a hilarious and melancholy journey through identity in the digital age that leaves us all asking "who am I trying to be?"

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

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.

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

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.

Facebook is for “old people” and baggy pants are almost vintage. We are the generation that now has to learn to fit in the shoes of grown-ups. We are the generation "not-as-young-as-we-thought-we-were" - Y. This documentary tells our journey through the different generations and which milestones our lives hold from the viewpoint of a modern "social and connected" society. We met people of the generations before and after us, to find out what matters to them, what unites them and also divides them. We talked about communication, family, work and aging. We learned about ways of life, dreams and goals. This isn’t just a movie about generations. This is a movie about finding one’s place. This is a movie about growing up, growing old and everything in between. This is a movie about life.

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

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.

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 woman walks, loves, eats and washes herself, dances. It all takes place in a bedroom. At times flashbacks, or visualizations of previous or following scenes. Unless her life in the bedroom becomes an obsession, she lives through the other scenes.

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.

As Janelas Me Diziam Que Os Carros Cor De Lembrança Ainda Percorriam as Movimentadas Ruas do Esquecimento

This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.