Seagull dog child

the film „mandà in lunga“ follows a journey from Val Poschiavo, a valley in the Italian-speaking part of the Swiss canton of Grisons, up to the highest point of the Morteratsch Glacier, the largest glacier in the Bernina Range. Shot entirely on 16mm film and edited in-camera, the film captures the changing landscapes and atmospheric shifts along the way. The journey is musically accompanied by the organ drones and violin sounds of Laura and Luzius Schuler.

During the oppressive reign of Moroccan King Hassan II in the 70s and 80s (Years of Lead), many dissidents went missing. After the throning of a new king, a truth commission was formed in the 2000's. Families of the missing speak.

Twenty-four images of a camera running in the woods, a moonlight and a cemetery through improvised gestures, mechanical abstraction and saturated colors

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

The film is set in Tangier, a city in northern Morocco known for its rich cultural heritage and vibrant artistic scene. It features Iliass, a young interdisciplinary artist who skillfully merges four distinct art forms—blurring the lines between tradition and modernity—to create a singular, innovative expression. Through Iliass's journey, the film explores the dynamic interplay of identity, creativity, and the transformative power of art, set against the backdrop of Tangier’s unique blend of Mediterranean and Moroccan influences.

What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.

Orientalism is a literary and artistic movement born in Western Europe in the 18th century. Through its scale and popularity, throughout the 19th century, it marked the interest and curiosity of artists and writers for the countries of the West (the Maghreb) or the Levant (the Middle East). Orientalism was born from the fascination of the Ottoman Empire and followed its slow disintegration and the progression of European colonizations. This exotic trend is associated with all the artistic movements of the 19th century, academic, romantic, realistic or even impressionist. It is present in architecture, music, painting, literature, poetry... Picturesque aesthetics, confusing styles, civilizations and eras, orientalism has created numerous clichés and clichés that we still find today in literature or cinema.

Hercules travels by bicycle from Krefeld on the Lower Rhine to Olympus, the throne of ancient deities. The Hercules myth, as a primal myth of male power, is questioned through biographical reflections and the staging of mythological echoes. The dramaturgical structure of the hero's journey disintegrates in a multi-material perspective into questions about male identity, ideals and remorse.

The Aït Atta tribe of the High Atlas mountain range in Morocco preserves their ancestral right of access to the agdal, a communal land management system that dates back hundreds of years. The film follows Ben Youssef family’s arduous transhumance journey from the desert-like landscape of Nkob to the green pastures of Agdal Igourdane, throughout uneven terrain of steep climbs and descents of these High Atlas mountains. They migrate each summer with their 800 goats, donkeys, mules, camels and dogs, as they embark on this formidable journey on foot.

An experimental film about narrations of two journal photos from Iran's revolution in 1979.

A filmmaker revisits her childhood, interweaving 16mm vignettes and her old child services documents, uncovering the truth she couldn't voice as a child.

Experimental mash-up of circus and sideshow footage.

In 1999, 11-year-old Nisha Platzer lost her older brother, Josh, to suicide. Twenty years later, her search for a specialized medical treatment leads her to the door of someone who was once exceptionally close to Josh. And so it is that she finally has the chance to truly know her brother through his chosen family. Captured over five years in which synchronicities continually manifested, Platzer’s documentation of these encounters gently asserts that both grieving and healing are meant to be communal experiences.

The young farmer Aalami leaves his family to find work elsewhere. He gets to know the country and its people, customs and traditions at Küste in North Africa: Market life in Tetuan, the art of craftsmanship, the life of the Moors, dances and festivities in honour of the caliph, white mosques, the call of the muezzin of the minaret and the music of the shepherd flutes. Aalami also follows Franco's call and flies from Morocco to Spain to fight at Bürgerkrieg. In the end Aalami comes back to his wife and children.

Amid Guanajuato's vibrant streets, an aging filmmaker becomes a modern Don Quixote, joined by a spirited young animator as his loyal Sanchia. Together, they navigate themes of mortality, unfulfilled dreams, and the fragile line between madness and clarity, uncovering the transformative power of light, art, and the landscapes that shape our souls.

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

Two years ago, Mohammed VI succeeded his father, Hassan II, without any apparent difficulties. Is this succession really as smooth as it seems?

In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.

A study of observations around the ancient monument of the temple of Augustus and Livia and to cities of Vienne, Chonas-l'Amballan and Saint-Prim. Firstly proposed as a sort of ghost hunting, the project seems to focus on a world of figures, the whispers of the roads, diegetic/non-diegetic sounds and a camera that tries to investigate under fragments of logic and articulating cuts.

Something strange and unpredictable takes inthe mysteriously vacant rooms of Berlin’s infamous Techno club Berghain. A group of wild animals occupy the monumental spaces of the former power station. We explore the building together with the animals and experience its dimensions from a new, nonhuman perspective. The brutality of the industrial architecture is confronted with the beauty of these shy creatures.