Lemon

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Le côté obscur de l'ampoule

A computer generated fern follows a modular synthesizer soundtrack.

From the light that falls on the backyard of his house on the day of the equinox without shadow in Quito, and inspired by the "Theory of colors" of Goethe, the director takes us to several cities in America to reflect on the influence that the light has in the understanding of our surroundings.

A small exploration in the cemetery from the township of Sainte-Colombe throught a focus into the light, graveyards, flaggings and funerary plaques.

A thinking about light and how it surrounds our lives.

Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable

Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.

The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.

Backed by an echoed horn music, the light passes through a magnifying glass. On the walls, they portrait pans being held on top of a stove.

Filmed mostly on a Mini DV camera Gavin has thought of a quick way to become successful and be the master of the world but he has to wait for it all to fall into place… he has to wait for the postman to start production documenting the process of being master of the world.

A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.

Diam's, the beloved icon of French rap, gave up everything at the height of her success. The young woman experienced a real descent into hell: depression, loneliness, and disillusionment in the face of suffocating fame. On the brink of disaster, she found refuge in religion. Rare archives, memorable music videos, and previously unseen testimonials reveal the violence of her success and her vital need to disappear in order to rebuild herself, choosing the shadows after the light.

Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".

An exciting video journey through the world of time-lapse photography by one of the founders of the science of photobiology, Dr. John Nash Ott. Do fluorescent lights cause cancer and childhood learning and behavior disorders? Can long-term exposure to low-level radiation as from TV sets, computers, fluorescent lights, and similar devices harm you? Does living behind window glass and with glasses covering our eyes over years affect our health? Is natural sunlight and trace ultra-violet radiation really harmful? Or is it necessary and beneficial? How do cells, plants, and animals respond to constant exposure to different light color frequencies? These and similar questions were the subjects of Dr. Ott's pioneering investigations in the field of photobiology, using the methods of time-lapse photography.

Memorial

An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.

A sort of non-narrative itinerary between Lyon, Vienne and Valence-Ville that goes exploring the relationships between the interactions and the light it exposes, a reflection of identity and beauty that the shadows goes preserving the perceptions of new space.

Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

Reila