Diaries, Notes, and Sketches

A Different point from the eyss of Yuval Shamshins's life, in the modern days of the Covid-19. The movie is built upon the small moments of life, full of Metaphors and Images in order to built a cinemathic perspective.

The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”

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.

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.

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

IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.

Footage from summer of 2018 that explores the passing of time regarding the little things in life.

It compiles more than twenty years of passionately recorded “pictures from life” captured on super 8, that Vukica Djilas shot from 1970 to late 1990s.

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

A short documentary project that attempts to encapsulate what it looks and feels like to be an American Teenager in 2022.

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.

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

A short documentary by Jim McBride.

Ventana en Carrer de Badajoz

Raphael, Yervant Gianikian's father, survived the Armenian genocide in 1915 in Eastern Turkey. In April 1988, while living in Venice, he sat for his son's camera and read an excerpt from his memoirs, translated from Armenian into Italian.

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.

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

For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.

A loose collection of scenes in Hong Kong shot over a five-year period, this film begins with the Umbrella Movement in 2014 and ends right before the summer of 2019, when large-scale social unrest and violent resistance erupted. The everyday scenes capture the ambience and the landscape of change in the city, standing as a quiet prelude to the ensuing conflicts.