Un mito susurra a la niebla

Love and admiration in 16mm. The fusion a beauty that exists throughout three generations; my three Venus.

An essay style film in the vein of Orson Welles' "F For Fake" and Jon Jost's "Speaking Directly". From 2011 to 2013, filmmaker Kristian Day randomly documented the art and actions of the award winning metal sculptor, James Bearden. Refusing to make another artist documentary, Day insisted on illustrating Bearden's creative process through surreal and id oriented story telling.

Rebenty

Las Preguntas que Perdimos

A former leader in the Black Lion Party for International Solidarity shares his story of found family, loss, and transcendence. Shot over the course of two months, this short documentary provides a glimpse into the dynamics of modern American revolutionary movements. Jeremias' film captures a very brief, but important period of transition for the Black Panther Party in the 2020s.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

A young woman, who has inherited her grandparents' huge house, a fascinating place full of amazing objects, feels overwhelmed by the weight of memories and her new responsibilities. Fortunately, the former inhabitants of the house soon come to her aid. (An account of the life and work of Fernando Fernán Gómez [1921-2007] and his wife Emma Cohen [1946-2016], two singular artists and fundamental figures of contemporary Spanish culture.)

Francesca Svampa’s dreamlike portrait of Barcelona, shot in double exposure on reversible 8mm film, is interwoven with Svampa’s intimate, reminiscent telling of her personal micro-memories, as a woman, filmmaker, and immigrant.

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

An excerpt about the troubled, passionate and intriguing relationship of an actor with his own life.

An isolated filmmaker struggles to connect with others in the absence of cameras. When he becomes creatively stuck, the world around him begins to dissolve.

A Street Named Liberty is a symbolic, experimental narrative that uses miniatures to reveal the disappearance of justice and the normalization of violence and oppression in an imaginary country.

Bringing the Kuleshov effect into the streets of Culiat.

Moments in the life of a young Japanese filmmaker in Bosnia, charged with acoustic and visual poetry. Buoyant and essayistic entries in a process of self- and world-reassurance.

Unfolding in a series of eight vignettes, Sound Spring explores the history ofYellow Springs, Ohio over hundreds of years, as narrated by its residents incomical scenes: one interviewee rollerblades and reads the village's water meters, another stands on his head in a breakdancing freeze. The villagers describe American history-their ancestors' settlements after slavery, a friendship with Coretta Scott King, and Ohio's Trail of Tears- among other more personal details of village life. The wording of their recollections is imperfect, unsure-in fact they are all re-stagings of their previous audio interviews. Through performing their own previously recorded media, villagers uncover layers of time and storytelling.

Shot instinctively during the evacuation of a family home due to urban renewal, Intervals transforms fragments of domestic rituals and archival images into an intimate essay on memory, loss, and belonging, exploring the gaps between moments, between remembering and disappearance.

Water hands is the literal Chinese word for ‘sailor’. The sailor himself remains off-screen in this film, just like the woman who is waiting for him. The tight black-and-white images move through Singapore and Montenegro, while a logic all of its own links the various worlds and narrations.

In the not-so-distant future, Earth, choked by plastic, sends a secret expedition to an uninhabited planet to test an extreme method: having animals digest waste. The scientists land on DR0M3-D4R10, a dry and mysterious land, and begin the experiment. But the animals fall ill, the project fails, and the expedition is abandoned to its fate. In a desperate attempt to survive, they begin hunting the planet's only sentient creature, upsetting a sacred balance. The planet's revenge is not long in coming. Only one option remains: to leave a memory, a mark. A distant voice, native to the planet, tells their story.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

Reila