In Ictu Oculi

An inspiring 75min DIY documentary film on new art and the young artists behind it. It was all filmed on the heat of live action of the first NOVA Contemporary Culture Festival, July and August 2010 in São Paulo, Brazil.

Commissioned for the Irish representation at the 55th Venice Biennale in 2013, The Enclave is an immersive, six-screen video art installation by Irish contemporary artist Richard Mosse. Partly inspired by Joseph Conrad’s modernist literary masterpiece Heart of Darkness, the visceral and moving work was filmed in the Democratic Republic of Congo using 16mm colour infra-red film, which captures otherwise invisible parts of the spectrum. The resulting imagery in Mosse’s work is hallucinatory and dream-like with the usual greens of jungle and forest replaced by shimmering violet. The Enclave depicts a complicated, strife-ridden place in a way that reflects its complexity, using a strategy of beauty and transfixion to combat the wider invisibility of a conflict that has claimed so many.

Images of something like nature struggling to endure against the noise of an entropic electronic signal.

Logistics or Logistics Art Project is an experimental art film. At 51,420 minutes (857 hours or 35 days and 17 hours), it is the longest movie ever made. A 37 day-long road movie in the true sense of the meaning. The work is about Time and Consumption. It brings to the fore what is often forgotten in our digital, ostensibly fast-paced world: the slow, physical freight transportation that underpins our economic reality.

These 131 video monitors stacked in a grid present simultaneous, continuous footage of the German artist during the last year of his life. In this filmed diary-project that Dieter Roth executed while convalescing in Reykjavik and Basel, we see him not only working in his studio but also while he sleeps, bathes, and uses the bathroom. It is nearly impossible to pay attention to only one video without becoming distracted by an unexpected sound or movement coming from one of the many other screens. Each monitor broadcasts a different point in the artist's daily routine, while the gridlike arrangement of monitors reinforces a sense of order and chronology.

An ironic and touching moment between a mother and son shot in this short film by Mahdi Baraghithi

A landscape film about isolation, fear, and the ever-presence of religion in rural Pennsylvania.

An observational documentary, shot on high-contrast black and white 16mm film, about a largely undeveloped river in southeastern North Carolina that is home to the oldest trees east of the Rocky Mountains.

Through a collection of home video footage, the filmmaker undergoes a journey of reconciliation and healing, grappling with their identity in the face of the past.

An abstract film consists of static shots of a small house-like being demolished through temporal ellipsis.

Amongst the contemplative static shots of decaying architecture weaves an abstract narrative unveiling the life-cycle of a higher perception, too large to perceive. Shot at various sites across south-east England, INFRASTRATA is a study on the concept of super-organisms, and the relationship between structure and nature.

An extension of the Benign Violation theory of comedy developed by Tom Veatch and A. Peter McGraw and Caleb Warren. Source: The Cure (1917) Dir. Charles Chaplin and Edward Brewer

Designing artificial relationships between found or stolen elements is a technique that seeks to discuss found footage. Credere a tutto tells about houses and living beings and has developed by intertwining ancient photos, a text, a film sequence and original video footage. Materials that take on time, space and new meanings within the expanded vision of the so-called “spectators”. A techno music session while séances and panoramic views of derelict houses question us about what we see and what we cannot see.

Otro Sol is a group of real and invented characters trapped in a film. It is also a purgatory of retired thieves that takes place on the coast of the Atacama Desert. The film is circular and seeks to invent and verify the myth of Alberto Cándia, a Chilean international thief who stole the Cathedral of Cadiz in Andalucia in the late 1980s.

47 Days, Sound-less by Vietnamese artist Nguyễn Trinh Thi is a film that explores the relationships between sound and silence, vision, language, colours and their absence. Nguyễn identifies “peripheries”—including natural landscapes used as backdrops, uncredited characters and soundtracks from American and Vietnamese movies—that reveal more-than-human perspectives. Offering new ways of looking and listening, 47 Days, Sound-less invites audiences to reflect on the inextricable relationship between a place and its inhabitants.

An intimate glimpse into 3 years of serene moments, compiling video, polaroids and other things that were lying around when editing.

For this work Alÿs purchased a gun in Mexico City then walked through the city streets with the weapon in his hand. After eleven minutes he was arrested by the police. The following day he repeated the action, this time in cooperation with the police. By presenting a record of this dramatic action alongside footage of its reenactment, Alÿs blurs the boundaries between documentation and fiction. Questioning the concept of authenticity, this work demonstrates “how media can distort and dramatize the immediate reality of a moment,” the artist has said. Gallery label from Francis Alÿs: A Story of Deception, May 8–August 1, 2011.

Featuring one of the most monstrous personalities to grace the screen, "Me and My Victim" follows the tumultuous romance between its creators, Billy Pedlow and Maurane. In their feature debut, they have created a new genre using a blend of podcast-style audio recordings and visual fragments. "Me and My Victim" is like turning over a rock and witnessing a full ecosystem of bugs scattering in the light. It'll make you cringe, but it'll be hard to look away.

An exploration of the space where femininity and criminality collide. The film collages archival footage clips culled from silent films, original footage and computer-generated imagery with a series of narratives drawn from true crime confessions, early criminological texts, and the filmmaker's own reflections. The result is a cool and piercing meditation on the way the categories of "woman" and "criminal" have been constructed.

Fantastical, larger-than-life puppetry and rambunctiously playful choreography is framed against an Edenic backdrop of Vermont farm country in George Griffin and DeeDee Halleck’s luminous, lyrical short film, which documents the 1974 edition of the Bread and Puppet Theater’s annual Domestic Resurrection Circus, taking place soon after the company’s relocation from downtown Manhattan to the rural New England enclave where it remains headquartered to this day.