Tantos Domingos

The life and tragic death of Whitney Houston.

Brayden Olson has spent his life wondering about the father he never knew. Armed with only a name, a faded photograph, and an improbable lead, he sets out across continents to uncover the mystery of Carlos. But as each revelation brings him closer to the truth, Brayden risks unraveling the life he’s always known — especially the bond with the mother who raised him alone. Raw, intimate, and deeply human, Finding Carlos explores identity, family, and the silent epidemic of fatherlessness.

A contemplative portrait of a liminal space, where anonymous inscriptions transform a place of transit into a quiet archive of memory

As the months pass through her, Mai gives us a glimpse into old age that explores between being abandoned and being belonged, passing the time and living the time.

Twenty-six years after her parents' dramatic break-up, film director Nicoline Skotte takes on the task of revisiting her childhood trauma by inviting her parents to participate in an investigation of shared family dynamics. Memories of their common past seem to be selectively edited by each individual. What led to this dramatic outcome and how did two such incompatible people ever end up together? Nicoline dives into the messy family relations, seeking to uncover what has never been said.

Jasmin is joy, living in the moment. A 15-year-old boy described as "non-verbal autistic." He communicates through his eyes. He makes sounds, says a word. He constantly sings the rhythm of a song whose lyrics only he knows. A bubble of sweetness and love.

One Sunday in a public housing project, an Italian immigrant family. Through the character of the mother, we experience the family's Sunday ritual. More than just this somewhat ancestral ritual, which is still relevant today, we get a glimpse of this Mediterranean culture.

A day in the life of a group of stray cats, who live in a wealthy neighborhood

Two friends await in the airport for a third friend to arrive. As the passangers come by, pictures not taken accompany a conversation between the two friends.

Through phone call conversations, an aspiring Ilocano filmmaker relates to his mother working in Italy about his dreams and struggles while documenting the invisible betweenness of their language and distance.

How do we influence the world around us? A fluid analysis tool ordinarily used in the laboratory offers new interpretations of human interaction and provides surprising insights about our place in the world.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

La Rodilla del Diablo

1°. Nel porto di Genova, Veliero ("1. In the Port of Genoa, Sailing Ship") is a 1928 silent amateur film by Guglielmo Baldassini, preserved as a 2K DCP from a 9.5mm reversal print without intertitles. Held by Fondazione Home Movies in Bologna, the film shows a sailing ship entering Genoa’s port, likely shot from a small boat. Baldassini, a Milanese painter and etcher, used the Pathé Baby format to capture landscapes and seascapes, often as references for his artwork. His archive includes 95 reels filmed between 1926 and the early 1930s, focusing on family, Milan, coastal scenes, and mountains. He developed his films at home, experimenting with tinting, toning, and exposure correction. Many reels show emulsion decay due to aging and chemical treatments. Notes by Michele Manzolini and Mirco Santi appear in the 44th Pordenone Silent Film Festival catalogue.

A silent amateur film directed by Nena Lavello. It is preserved as a 2K DCP (1'31" at 16 fps) from a 9.5mm reversal print without intertitles, held by Fondazione Home Movies – Archivio Nazionale del Film di Famiglia in Bologna. According to Michele Manzolini in the 44th Pordenone Silent Film Festival catalogue, the film was likely shot in Lavagna, where the Lavello family spent extended stays at their country house, Villa Rocca. The footage captures leisure activities of Nena Lavello and her group of friends, known locally as the “robustine” for their energetic and athletic lifestyle. Scenes include beach outings, sailing, and games. The Pathé Baby camera used for filming was purchased in April 1925 by her father Arturo Lavello, possibly for travel or as a gift. The film reflects moments of youthful recreation along the Ligurian coast

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).

A hearse cruises the streets of Medellín, while a young director tells his story in this city marked by conflicts, violence and paradoxes. He remembers his childhood and the discovery of his sexuality.

Standing near the reptile section in a zoo we can learn a lot about the animals on both sides of the separating glass.

Rosa is from Croatia and lives in Switzerland, with her husband who depends on her care. She takes care of everything. Her children have grown up and want to leave home. Rosa stays behind alone.

Buzz One Four chronicles the ill-fated flight of a Cold War B-52 Stratofortress loaded with two 3-4-megaton nuclear bombs that crashed 90 miles from Washington DC in 1961. Information suggests that detonation came closer than official reports indicated. The full details of the crash have remained classified and otherwise repressed by the Air Force, but the filmmaker, Portlander Matt McCormick, grew up with this story because the pilot was his grandfather. As McCormick recounts the history of the era, aspects of this crash, and other little-know nuclear-weapons accidents, he leaves us wondering if the U.S. was in greater danger of nuking itself than of being attacked by the Russians.