Não é Possível Garantir que Todos os Produtos Funcionem

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

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.

Experimental Colombian short documentary on the treatment of livestock.

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

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?

Outtakes, commentary from Zefier's third film: Jo; or The Act of Riding a Bike.

Jo; or The Act of Riding a Bike is Zefier's third film.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

A condensation of a handful of sunsets with various visual moods. Red and blue as opposites that still find a way to cohere. Concrete silhouettes over an ever-changing, expanding canvas. Every movement is collective, molecular. Over an invisible horizon, a chance presents itself to meditate on the “speed” of water (and the sea) and also for a more fluid kind of editing.

Las Preguntas que Perdimos

Made in Japan, Last Room is both fiction and documentary. The occupants of the love-hotels and capsule-hotels tell their own intimate, dreamlike stories, interspersed with journeys through the archipelago's landscapes. Soon, these personal stories resonate with a collective history: that of Gunkanjima, the abandoned ghost island of Nagasaki, and then that of Japan as a whole.

Going, returning; the anticipation of interruption.

Based upon a habitual fidget of the filmmaker involving the tags in his clothing, Reilly Mitchell explores the feelings of his past by removing something that has always stayed so close to him and turning it into something new.

A Landscape documentary about the silent voids the living inhabit after everyone they love has gone.

Archive footage from 2006 - 2010 of a young girl growing up during the ages of four to eight. Only fragments of what is remembered exists. Words from a transgender man float to the surface as fleeting memories go on.

An exploration of entering and leaving consciousness from the perspective of non-human bodies trapped in everlasting cycles of abuse.

An experimental tribute to Jean-Luc Godard, his documentary works and his insights in our modern world.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force. This film is a lyrical portrait of this furious wind, woven from the stories passed down by local villagers.

A closeted transgender woman is comforted by dancing to confront her sexual demons.