Why Watch Yi Yi: A One and a Two...

The New York of News from Home was filmed in 1976, while the one of Taxi Driver was filmed in the summer of 1975. Both works reflect the same decadent city. Two visions that shift from the everyday to the existential complement each other. A resignification of Akerman's images through the voice-over of Scorsese's work.

In a world bedazzled by intractable images, do we need the essay film now more than ever? Kevin B. Lee weighs up this distinctively self-aware, searching form of cinema through both video and text.

A video essay on the history and morality of the Robin Hood legend.

From 1920 to 1965, the great Buster Keaton made spectacular use of locomotives in his films. This video essay charts the course of his iconic cinematic career across the many tracks he rode along on screen: as a young man in the surge of his silent movie ascent in Our Hospitality, while making his masterpiece The General, and traversing the width of Canada on a railway speeder car as an old man in The Railrodder.

After the making of my previous film (PLAY DEAD!), some unfinished business remained on my desktop. Home movies and various body horror films from my childhood cluttered my computer screen. Part medical treatise, part self-anamnesis, and a mashup tinged with nostalgia, this video essay returns the images emanating from my computer screen to the everyday gaze of a diabetic.

nostomanie

Video essay exploring Luca Guadagnino's filmmaking methods, focusing on the passionate dynamics of desire and ardent longing for connection that sizzles across his cinema.

A visual essay about Mario Bava's film "Shock" by Alexandra Heller-Nicholas examining the film’s imagery, objects, and connections between possession and puppetry.

comment faire disparaître un corps.

Visite banale du musée de l'oubli.

A video poem about a house. The home, or at least its foundations, are what evoke memories of that childhood, now lost in time.

An experimental short assembled from YouTube videos of the director’s former classmate, TV fragments, and a 2006 graduation interview recorded in Alchevsk. What starts as an ironic play with early-2000s home-video aesthetics slowly falls apart. Through montage of personal and online material, Chepelev tries to reconnect with a man he once loved – a man whom war and time have made almost unrecognisable. Laughter loses its protective function and gives way to the impossible wish to return to a place that no longer exists.

Video essay on Heart of Stone, folktales and gothic horror by film and literature scholar Mary Going. Included on the Eureka! Entertainment release of of the 1950 DEFA film "Heart of Stone," or "Das Kalte Herz", the original German title.

Through an exercise in fragmentation and personal memory, Autogazō examines the construction of self-identity projected across the six classical artistic disciplines. Navigating domestic archive footage, physical staging in darkness, and fractured reflections, the piece converges toward the seventh art: a threshold where cinema ceases to be a mere recording medium to embody the filmmaker himself.

A fictional boy aims to become a non-fictional rapper. His label has other plans.

Chase Bridges gives his research on the fictional 80's tv show "Surfing Dracula", giving summaries of multiple episodes and the general plot of the show.

A video essay on the film by writer and pop culture historian Keith Allison where he gives a concise historical-and-critical companion to Alberto De Martino’s 1963 The Blancheville Monster—released in Italy as Horror. Rather than functioning as a production-history interview, it places the film within the early-1960s revival of Gothic horror and then reads its particular blend of Poe-inspired nightmare, old-dark-house melodrama, and psychological uncertainty.

Human beings are on the precipice of the next migration era, and comedy is at the forefront of this new age. Some have already begun the journey. This is an ongoing investigation into how our current comedy era got to be so wonderful. How did this once beloved art form come to be run by an autocratic dictator? How it started. Why it won't end. The evolution of the podcast. The shadowy nature of identity. The cycles. Examining the tragic past and psychology that motivates its beloved Dear Leader: Joe Rogan. And wondering if the possession of unlimited power will make a despot of almost any man.

We continue our exploratory investigation into the depths of the comedy world, trying to figure out how and why it got so degraded and destroyed. Picking up from where our last exploration left off, we examine the current state of the comedy sphere, while probing the invisible techno algorithmic undertow that shapes our inner thoughts and outer behavior. We also consider humanity's innate and deeply subcortical instinct to belong to a group, and the amygdalar fear factory in our brain which influences us to stay with and protect that group. Comedy.

Continuing our investigation into how our current comedy era got to be so wonderful. They say that power doesn't corrupt, it reveals. Once a guy like Joe Rogan, the Comedy Czar, grabs hold of the reins of power, he can wield his power in any number of directions. We examine humanity's innate instinct to migrate, and where we head when there is nowhere else to go. How can the nature of subjective reality be leveraged and exploited. The complex psychological mechanisms behind the current comedy era. The powerful cult behind the destruction of everything that was ever good. Hyperreality, classic reality. And the cycles.