Smashing Monuments

Australian journalist Guy Hamilton travels to Indonesia to cover civil strife in 1965. There—on the eve of an attempted coup—he befriends a Chinese Australian photographer with a deep connection to and vast knowledge of the Indonesian people, and also falls in love with a British national.

Frantz Fanon alone embodies all the issues of French colonial history. Martinican resistance fighter, he enlisted, like millions of colonial soldiers, in the Free Army out of loyalty to France and the idea of freedom that it embodies for him. A writer, he participated in the bubbling life of Saint-Germain with Césaire, Senghor and Sartre, debating tirelessly on the destiny of colonized peoples. As a doctor, he revolutionized the practice of psychiatry, seeking in the relations of domination of colonial societies the foundations of the pathologies of his patients in Blida. Activist, he brings together through his action and his history of him, the anger of peoples crushed by centuries of colonial oppression. But beyond this exceptional journey which makes sensitive the permanence of French colonialism in the Lesser Antilles at the gates of the Algerian desert, he leaves an incomparable body of work which has made him today one of the most studied French authors across the Atlantic.

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

Tracing the struggle of the Algerian Front de Liberation Nationale to gain freedom from French colonial rule as seen through the eyes of Ali from his start as a petty thief to his rise to prominence in the organisation and capture by the French in 1957. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell the revolt.

The technological and ideological traces of humans have transformed the earth from dark matter to a dark affair which despite everything brings forth new forms.

An installation containing video files of the artist's persona, alongside a karaoke piece of her as she watches her viewership fall and two mirrors side by side of messages she received, from two different users online.

Each pixel is separated like an exploded screen, set in a chaotic way into the space. The video has a whole movement in the room, as one three dimensional image. The experience resembles the brain, working with electromagnetic waves and low voltage information.

An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.

An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.

An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in Ikeda’s work for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.

Focusing on five of them, this documentary pays tribute to the wealthy women who, under the Ancien Régime, promoted scholars and artists, and paved the way for female emancipation through their intellectual independence.

After several years of being in relationship, Yusuf knew at what point he had to be brave to take his relationship to the next level with Zulaikha. Their love is pure and sincere and both hope this will become a solid foundation for both of them in the future. But the future is indeed unpredictable. Their love is hindered by caste differences. Zulaikha, who is descended from Bugis aristocrats, is not allowed to marry Yusuf, who, although he is well off, is from the common people of Makassar. History repeated itself because in the past, Yusuf's father, Dirham faced a similar polemic. Unlike his father, Yusuf was bolder against custom. He chose to fight for his love and asked Zulaikha to run with him.

Vega hits something on the road, but there is nothing on the pavement. Looking for help, she meets Elvira, who tells her that she may have run over a disoriented animal due to the solar eclipse that will take place in the next few hours. The strength and magnetism of the phenomenon and the environment will lead Vega into a journey she could never have imagined.

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

Animated film installation for exhibition “Opera as the World”

Culloden, Scottish Highlands, April 16th, 1746. It was one of the most mishandled and brutal battles ever fought in Great Britain. Its aftermath was tragic. The men responsible for such a disaster must be exposed. The men, women and children who suffered because of it must be remembered.

In this video work Bruce Nauman explores violence, gender and behaviour. Set around a simple middle class dining table, the scene quickly escalates into a slapstick fight between a man and a woman. Their actions become increasingly more erratic and aggressive yet also ridiculous and cartoon-like as the video progresses. Nauman explores the ways in which anger can be provoked by others and questions the way we can react to them. Much like many of his other artworks, he employs the use of humour and exaggeration to explore serious and even dangerous topics - he produced this work as a result of his frustration with futile acts of violence in ordinary life. He explains, “The viewer is presented with a hypnotic repetition of pointlessly cruel and destructive violence which is both seductive and alienating.”

After his wife passes away, the ailing Akbar marries Tina, a widow. Akbar’s illness makes him lose his job so Tina has to work in a garment factory. Akbar’s effort to find a job is fruitless and he passes away shortly after. His three children Mimi, Memet, and Ayu cannot stand their stepmother’s fickleness. They leave quietly to find the family of their biological mother. This is not easy since they don’t have her address. They work at any job to survive - housemaid, shoe shiner, parking boy etc. One day they meet John who buys and sells used newspapers. Mimi and Memet are given a small business of selling ice and pastries. Then Memed accidently takes the wrong train but fortunately, a rich man adopts him. However, Memed returns home as he misses his younger siblings. The reunion is short since Ayu passes away.

The new romance between a beauty salon worker and a subtitle writer for pirated DVDs gets pulled into danger when they view a forbidden recording.