Sans Soleil

Drawing from archives, through the collective force of invention and resistance, and evoking the creative power of Black people, the film summons sonic and visual memories to construct an insurgent remix.

Experimental film of a trip around Iceland, filmed on the circular highway with a wide angle lens camera registering one frame every 12 seconds.

Tímamót, or Changes in English. An upbeat, heartwarming story about Gudjon, Sigurbjorn and Steinthor who lived together for decades along with several other inhabitants in the Tjaldanes Institution, in a peaceful valley close to Reykjavik. When a decision is made to close down the institution, their life takes an unexpected turn and they discover a new side to life and to themselves.

A documentary account by award-winning filmmaker John Ferry of the events that led up to the 1969 Native American occupation of Alcatraz Island as told by principal organizer, Adam Fortunate Eagle. The story unfolds through Fortunate Eagle's remembrances, archival newsreel footage and photographs.

A nine-hour program that shows a man walking backwards through Tokyo – and nothing else – it appears. Ludovic Zuili, walking backwards through the capital of Japan. The video is shown back to front so that Zuili seems to be walking normally through a world moving back in time.

"The prevailing stigmatization of the 'villero' universe is fed back by the images. In order to dismantle this stigmatization, other images must be presented or we need to reveal what the existing ones seek to cover up. The slum is usually represented from a limited and deceitful visual panorama. This representation has an intention. Cinema and television are two image-producing devices that strengthen the stereotypes that we have about the people who inhabit these spaces. And what happens in the field of painting? Do clichés reign there too? This visual essay seeks to confront various works by national painters and sculptors, belonging to the Palais collection, with the kinetic images of current cinema and television, to reflect on both the differences and the similarities in the meanings and discourses that both regimes of images can produce." César González

This movie chronicles the life and times of R. Crumb. Robert Crumb is the cartoonist/artist who drew Keep On Truckin', Fritz the Cat, and played a major pioneering role in the genesis of underground comix. Through interviews with his mother, two brothers, wife, ex-wife and ex-girlfriends, as well as selections from his vast quantity of graphic art, we are treated to a darkly comic ride through one man's subconscious mind.

Experimental Colombian short documentary on the treatment of livestock.

An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.

An essay film that interweaves meditations on travels with stories of journeys in China across a century: A student expedition into the heart of China in the 1930s, a young traveler's visions of the melancholic landscapes of his homeland, the narratives of movements in early Chinese silent films. Through these fragments of travelogues, the film explores the nature of consciousness in motion and what it means to use archives, images, and cinema as documentations as well as vehicles for travel.

In this deeply personal video diary, a young researcher tries to make sense of her fascination for the film "The Pain of Others" by Penny Lane. A deep dive into the discomforting world of YouTube and online conspiracies, that challenges traditional notions of what documentary cinema is, or should be.

In the Frozen Tomb of Mongolia

Features volcano watches in Iceland from 1984-91, showing the country's highlands, Askja, Kverkjoll, Herdubreidarlindir, Sprengisandur, and Jokulsa Canyon. Presents Landmannalaugur and the popular trek from this Myvatn, Skaftafell, and glacier bursts from the Grimsvotn and Graenalon lakes. Depicts scenes of winter traveling in Iceland, Reykjavik, the Blue lagoon, Geysir hot spring, the site of Parliament in Thingvellir, and Kulusuk on the east coast of greenland. Includes the earthquake sequence that shook the island in September 1986 and sequences from the volcanic eruptions at Mount Hekla (1947-48, 1970, 1980-81, and 1991), Surtsey (1963-67) Heimaey Island (1973), Lake Myvatn (1975-84) and Grimsvotn Lake (1983).

Life is what we don't want it to be.

With a history of intrigue, romance, opera, festivals, old world grandeur, Austrians blend tradition and culture to live life at its best. What other countries say with words, Austrians say with the music of Mozart, Strauss and Schubert. This video tours a land of spectacular beauty, sounds of music, tastes of strudel and Sachertorte, touches of history and the pleasant smell of a winter's fire after a day in the Alps.

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?

The Closing Ceremony of the Games of the XXXII Olympiad in the New National Stadium in Tokyo

A documentary featuring 30 Argentinian women aged between 4 and 80, sharing their stories of resilience, strength, and unique perspectives on womanhood through performance art.

Captures the spirit and essence of the great San Francisco Human Be-In of January 14, 1967. Ten thousand people imbued with peace, love and euphoria. Set to hard rock such as only San Francisco blues can produce. BE-IN contains Allen Ginsberg, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Lenore Kandel and Buddha. Music by Blue Cheer.

From the behavior, discourse, and appearance of individual actors, Vachek composes, in the form of a mosaic, a broad and many-layered film-argument about Czechoslovak democracy in the period of its rebirth, all administered with the director’s ini­mitable point of view.