Esconde-Esconde

On October 25 1984, an afternoon for three girls takes a thrilling and rather mystical turn after following a peculiar boy into the surrounding forest of their college town.

A dancer falls. Can she get back up?

In 1960s Nagaland, a proud Konyak chief struggles to protect his dying traditions when an American missionary arrives with promises of aid that threaten his people’s identity. As his wife’s health deteriorates and famine looms, he and his mute son must make an impossible choice between survival and staying true to their ancestral ways.

A compilation of non-narrative, mischievous, fictional tableaux vivants featuring two young women on a dreamlike, summer-like quest for self-discovery, written in the glittery language of music videos, fashion shoots, and meandering streams of consciousness, set to a nostalgic mood track that evokes universal, bittersweet sentiments.

A young woman uses a strange telephone service to leave messages for her departed brother.

A portal, a sorceress, a fictional device to portray existence as a moment encapsulated inside an instantaneous photograph to present fragmented biographical elements —family disintegration, rootlessness, scars, two loyal companions, the promises of a new land—subverting the notion of a home-movie and transform it into a pilgrimage tool of self-discovery, mirroring the fragile nature of memories.

The director offers a rare glimpse of the actor and fashion muse Chloë Sevigny in the late 90s when she as an emerging ingénue. Shot on 16mm black and white, Sevigny plays air guitar and dress-up in a film that beautifully captures the spirit of the time.

When a cinephilic line cook, Hogan, meets Sierra, the girl of his dreams, he must navigate his past trauma and deal with the truth behind his father’s absence.

A short film shot on 16mm about memory, grieving, and siblinghood.

Jack's life (and kitchen) is turned upside down when his fridge begins to talk to him.

Distortions and deconstructions of Y2K pop stars' seductive images and iconic hits.

Clouds forming and moving through the summer sky.

A study of the seashore in mid-coast Maine.

A forgotten history of Northern Ireland is unveiled through a journey into Ulster Television’s archives, and the rediscovery of the first locally-produced network drama, Boatman Do Not Tarry.

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins

DRIFT is a collaboration started in 1991 between visual artist Leah Singer and musician and poet Lee Ranaldo of Sonic Youth. DRIFT is an immersive sonic/visual environment consisting of music, sounds and texts by Ranaldo in response to two 16mm analytical film projectors performed in real time by Singer. Much as a DJ scratches a vinyl record, Singer manipulates her films in a live improvisation with Ranaldo's guitar, poetry and soundscapes.

Wildlife in an early spring wetland.

Story about the last original "American Diner" in Miami, Florida. Since 1938 the S & S has been owned and operated by the family of the present owners, Charles and Jean Cavalaris. The S & S Diner is the ubiquitous Miami landmark on Northeast Second Avenue, known for serving large portions of homestyle food.

Morning dew in summer fields and meadows.

Knucklebones follows the course of hysterical outburst to instances of alienation and isolation. From a 1903 newspaper, "While fifteen hundred persons looked on in breathless excitement, an electric bolt sent the man-killing elephant staggering to the ground. With her own life, she paid for the lives of the three men she had killed." The film combines archival with Super8 and 16mm original footage and intertext in an experiential exploration of gender, sexuality and identity. Featuring Katherine Crockett, prior to becoming a Martha Graham Dance Company soloist. "A haunting evocation of the body under stress."-Kathy Geritz, Pacific Film Archive