Porcelain

A moving account of the experiences of men exonerated after years, and sometimes decades, in prison following newly found DNA evidence.

A Latina working in Los Angeles as a messenger is randomly discovered and fashioned into a pop music star.

Commissioned to make a film about a pilot health scheme in the Highlands and Islands, Mander decided against a straightforward documentary approach, recording doctors and nurses going about their work, and instead wrote her own storyline about a medical emergency and recruited actors to play it out.

A documentary on the housing problems of Great Britain following WWII

Below the belt cancers and a below the radar cause are thrust into the limelight as N.E.D., or No Evidence of Disease, a rock band of GYN Oncology Surgeons, put the plight of their patients center stage in this riveting story of women fighting for their lives.

Martina and Lupita are two housemaids who steal shoes and clothes from their boss Marcela, trying to impress Lupita's boyfriend. When Marcela founds out about the robbery, she and her friend Marifer go looking for them to retrieve her stuff and bring them to justice. "What did you tell God?" is a comedy that uses Juan Gabriel's songs.

A dreamy, ironic comedy about a generation of hedonistic students in the 1990s. Their favourite activity: talking endlessly. During a series of vacation days filled with sun-drenched naps, squabbling, waterskiing competitions and love-making, the amateur actors discuss their concerns in dry dialogues. For instance, semi-intellectual reflections on the end of time and how Michael Jordan plays basketball.

On a wedding day, women are confined to the kitchen to prepare the meal while the men wait to be served. While men talk politics and sports, women talk about their condition. A teenager observes the gap between the sexes. Co-directed by two actresses, Paule Baillargeon and Frederique Collin, The Red Kitchen is the birth of the Quebec women's cinema. The birth of the film was difficult, and funding has been largely achieved through donations from friends and a benefit concert. This war of the sexes takes place in a demanding formal research, based on the improvisation of the actors, whose preparation took place over long sessions in the workshop. The end result mixes black humour, horror and a very expressive fantasy that gave rise to heated debates.

Truth is slippery at the prestigious firm of Martín and Associates, a place where Lucía Aldarando intends to make her mark. Although go-getter Ricardo Martín heads the company, Lucía is ready to move up the corporate ladder, calling upon her smarts and her wiles to make her dream come true. Ambition, however, has a way of changing one's character, and not for the better.

Two 16mm films simultaneously project images of Le Corbusier’s iconic white Villa Savoye outside Paris, and its doppelgänger, a black copy located in Canberra, Australia. Each film has been printed on 16mm stock as a negative image, or polarity print, thus reversing light and dark. The Antipodean black Villa Savoye is, in fact, an ethnographic institute, dedicated now to the digital duplication of its extensive collections of anthropological films, photographs, slides and sound recordings, as Siegel reveals in a high definition colour video. The work enacts the infinite loop of recorded artefacts—the urgency to document and record “vanishing” rituals and cultural practices becomes instead the contemporary archival impulse to copy vanishing media formats to digital. These concatenated elements extend the artist’s engagement with architecture as a foil, enacting and revealing across constellation-like works, layered sociological and aesthetic concerns.

Fetish unfolds at London’s Freud Museum, depicting the yearly nighttime cleaning of the psychoanalyst’s personal collection of archeological statues and artifacts. Exposing the unseen procedural activities of the museum, the material and exquisitely mundane qualities of these objects are disclosed. The leading protagonists–analyst, patient (and tourist visitor)—are present only in the objects’ endless accumulation of dust and its painstaking, methodical removal. The artist’s rendering of the ritual cleaning allows for a reverse gaze at Freud’s personal collection and furniture—alternately tender, projective and voyeuristic, as the conservator’s brush sweeps the delicate surfaces of each object, or pulls back fabric upon fabric to reveal a couch’s hidden structure. Through subtle parallels, these objects, processes, and the intimate empathy their simultaneous systems each suggest, are both mirrored and revealed.

An intimate portrait of Hollywood royalty featuring Debbie Reynolds, Todd Fisher, and Carrie Fisher.

In this story of love, life, and friendship, three Puerto Rican women from very distinct socioeconomic classes are united when they must fight the same battle. Their lives collide at a doctor's office when they are diagnosed with a life threatening illness. Each has her own struggles, but they come together to survive and support one another on a luxurious weekend away in a beautiful beach resort. When they return to reality...how much have they changed?

Musicians and dancer perform in real-time while Schwartz plays a computer-keyboard to create special effects on a computer-controlled video-visual communication system.

PBS Frontline takes an in-depth look at the multibillion-dollar "persuasion industries" of advertising and public relations and how marketers have developed new ways of integrating their messages deeper into the fabric of our lives. Through sophisticated market research methods to better understand consumers and by turning to the little-understood techniques of public relations to make sure their messages come from sources we trust, marketers are crafting messages that resonate with an increasingly cynical public.

Three women discover they are married to the same man when he falls into a coma after suffering a heart attack. The story takes a surprising turn when the women plan a solution while he remains in coma, but what if Cristóbal awakes?

The teenage girls of Vestalis Academy are meticulously trained in the art of being “clean girls,” practicing the virtues of perfect femininity. But what exactly are they being trained for? Vivien intends to find out.

The world's most loved fairy tale is back in a whole new fantastic imagining in Pinocchio. When a piece of pine-wood falls into the hands of the poor old toy maker, Geppetto, he carves it into a puppet which he names Pinocchio. To Geppetto's delight, Pinocchio comes to life - and like most little boys, he's full of reckless whims and wild ideas! His crazy escapades lead him into a series of madcap adventures from joining the circus to visiting the inside of whale! Along his journey, and throughout all the fun, Pinocchio learns to be considerate and courageous and learns what it takes to become a real boy.

Quiproquo is a dialogue on the balance to be found between nature and social-industrial technology. As the film refers to the economy of the means involved in relation to what is expressed, it is both a reflection on the potentialities of the medium and an enquiry concerning the implications of the reality portrayed. It is a question of limits and possibilities, the beauty and tragedy of the world, with a critique of contemporary society’s dominant choices constantly in the background. Filmed in Berre l’Etang, Bouches du Rhône, in the villages of Orgon, Bouches du Rhône and La Coucourde, Drôme, on the roads to Beaumont-du-Ventoux and Carpentras, Vaucluse, and Tarascon, Bouches du Rhône.—Canyon Cinema

Bouquets 1-10 is Lowder’s first collection in an ongoing series of one minute episodes, each composed of footage shot around a general geographic location that has been alternately woven, frame by frame, into a single film reel and connected through the interstitial still life image of a flower that cues the beginning of each integrated film Bouquet. Each bouquet of flowers is also a bouquet of frames mingling the plants to be found in a given place with the activities that happen to be there at the time. Lowder uses the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed.