Australia: Land Beyond Time

In 1992, skydiver Dan Brodsky-Chenfeld boarded a plane for a training jump. Six weeks later, he awoke from a coma to discover that a terrible accident had shattered his dream of becoming a World Champion. This is his story.

The International Ox Pull, highlight of the Bridgewater, Nova Scotia, annual fair, is a holdover from the pioneer past when oxen cleared the land and tilled the soil. These beasts of burden have lost none of their pulling power, as demonstrated when they drag tons of weight loaded on sleds (the winner pulls up to 6 tons!). Competing teams come from various parts of the Maritimes and the Northeastern United States.

Two men and one woman addicted to videogames are interviewed to tell their stories. In this documentary, they are animated characters resembling the ones on computer games.

Against the backdrop of Italy in the years of the Fascist dictatorship, a man of wealth but unknown to history scrutinises the world with his little film camera. He is guided and instructed in the process by a handbook in which the germs of the ideology are concealed beneath the apparent objectivity of technique. But ineffable signs of resistance still surface in the images.

Have you ever woken in the night unable to move, certain that you are not alone? This is an experimental documentary examining what happens when dreams leak into waking life. It is about what is real, what is not, and if it even matters.

Shows masked mental patients enacting various schizophrenic symptoms as they were understood at the time. A disturbing film that raises questions about the condition and treatment of its subjects. (archive.org) “Abstract: This film describes and demonstrates four types of schizophrenia. Filmed at various New York institutions, it shows patients singly and grouped in large, outside recreational areas. Some patients are blindfolded. Symptoms shown include: social apathy, delusions, hallucinations, hebephrenic reactions, cerea flexibilitas, rigidity, motor stereotypes, posturing, and echopraxia.” (Guide to Mental Health Motion Pictures)

The film was shot as the final part of the play "Drink the sea, Xanthos" theatre-Studio "NEO" (St. Petersburg 1987-1989). As a result, the performance was changed and the film gained independence. He became an allegory of acting.

Make-up and cleats are not mutually exclusive for the soccer players from "Agrispor". In "Mädchen am Ball", Aysun Bademsoy accompanies five young Turkish women on their way up in a women's soccer team in Berlin.

A portrait of the Swedish director Roy Andersson, dealing with obsessions of the film maker considered as the origins of his last incredible project : Songs from the Second Floor. 20 years of reflection and creation, 4 years to shoot a masterpiece with a unique way of filming. A meeting with the Nordic Kubrick, rebel with a cause : responsibility and humanity.

Thirty-five-year-old Stojan lives in a big city and has various jobs. He takes refuge from everyday life in an uncommon place.

During the 1980s, claims of satanic ritual abuse ran rife throughout the western world, uncovered by hypnotic therapists and perpetuated throughout the media, including high-rating television talk shows. In Demonic, filmmaker Pia Borg delves into this bizarre chapter of history, examining the elusive line between fact, fiction and the persuasive power of the media.

The life story of Daniel Balimá, a horticulturist with a disability in Burkina Faso.

A day in the life of a train station.

An interview of Tomás Milián discussing his performance in Umberto Lenzi's Almost Human.

Director Umberto Lenzi, writer Ernesto Gastaldi and stars Ray Lovelock & Gino Santercole discuss the making of Lenzi's Almost Human.

An interview of Umberto Lenzi discussing the making of his film Almost Human.

Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion (200 frames per second) and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye

When we depend on others...

The record of a human intervention in nature: A static shot shows part of a landscape, a serene body of water in front of a mountain. A motorboat enters the picture from the right, obeying the directions sent by radio and forming a spiral in the water's surface. The boat then turns to the left and leaves the scene; solely its wake is visible for a time.

Black Rain White Scars depicts a twilight of reality. With the steady shot of a Gotham-like cityscape, Lukas Marxt guides us between vestiges of visionary architecture and narrow planted apartment buildings. As we’re searching for our relational point within it, the overwhelming murmuring of the human, car, and boat traffic, at the same time marginalises our position. We are a part of the scenery, though secluded and apart from it.