lasso the moon

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

A haiku film poem. the early morning waiting for the monks. the voices. the fire. the wat drum.

editing experiments with backdoor blinds, more dancing

a haiku films, a poem by Nha Thuyen

A punk scarecrow, endowed by life, annihilates its roots and revitalizes its territory.

For this film, Takashi Makino allowed himself to be inspired by the earth. In a never-ending stream of images, we recognize elements from the forest that he then reduces to an abstraction. The film came about as a classical composition in which the picture and the musical contribution of Jim O’Rourke link up seamlessly and lead the mood in turn. A sense of freedom is what predominates.

A depiction of a girl’s uneasy state of mind as it wavers between life and death.

An unknown future. A boy confesses to the murder of another in an all-boy juvenile detention facility. More an exercise in style than storytelling, the story follows two detectives trying to uncover the case. Homosexual tension and explosive violence drives the story which delivers some weird and fascinating visuals.

Two damned women escape from hell and discover the modern world. They are followed by Hades coming to collect their souls.

A child is attacked and turned into a chimera and must learn to navigate his strange world as an entirely new kind of being.

When Adrian's friend denies him a loan of money, a rampage of thoughts starts within him. Why won't Jacob lend him any money? And why won't he lend any to him, specifically?

As a major storm strikes Texas in 1900, a mysterious televisual device is built and tested. Blake Williams’ experimental 3D sci-fi film immerses us in the aftermath of the Galveston disaster to fashion a haunting treatise on technology, cinema, and the medium’s future.

Seraphim Cloud and his life size doppelgänger enter the netherworld of Calico Ghost Town deep within the Mojave Desert.

Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.

Set halfway through the 17th century, a church play is performed for the benefit of the young aristocrat Cosimo. In the play, a grotesque old woman gives birth to a beautiful baby boy. The child's older sister is quick to exploit the situation, selling blessings from the baby, and even claiming she's the true mother by virgin birth. However, when she attempts to seduce the bishop's son, the Church exacts a terrible revenge.

In a remote and seemingly peaceful province of Ilaya, there lived two teenagers who explore their lives as the world around them grows darker.

GIRI CHIT tells a tale of the subtle trace of irreconcilable worlds. A worker driving a mobile sweeper in hypnotic circles across an already immaculate surface. The high drama of cosplay aficionados clamoring to be seen. A cast of thousands toiling hundreds of feet above the street. Giri translates as ‘duty’ in Japanese, but the concept is in fact far more complicated. Giri is a sort of interpersonal political capital that informs careers, family relations, and much more. Its presence and flow is palpable in Japan, where this film was shot. A “giri chit” then may be a hypothetical voucher for this intangible flow (with a tip of the cap to Thomas Pynchon’s “Vineland”). Selected Screenings and Awards: DaVinci Film Festival (Best Experimental Film), Chicago Underground Film Festival, Athens International Film and Video Festival, Dallas Videofest, ICDOCS Film Festival, NewFilmmakers at Anthology Film Archives, Oxford Film Festival, Director’s Lounge Berlin

A pre-internet mash-up that mixes “Peanuts” and David Lynch’s “Blue Velvet.”

Arriving in the US with a background in abstract art, opera, and film—including work with German director Werner Schroeter—Vogl began making Super8 films in New York that stripped away the stylistic markers of Hollywood, New Wave cinema of the 1960s and ’70s, and classic avant-garde film, leaving only traces of their generic conventions. For the first hour of OK Today Tomorrow, he stages a series of fraught encounters around the city between four gentrified New Yorkers before abandoning his vague narrative of youthful angst altogether in favor of documenting the urban landscape itself. The dusk-to-dawn “city symphony” that ends the film resembles similar Super8 social studies by Vogl’s uptown contemporary John Ahearn; both recorded the daily lives of working-class black and immigrant communities on the streets of a city on the verge of the corporate takeover and sweeping gentrification that followed in the 1980s and ’90s. Preserved by The Museum of Modern Art, New York.