And We All Shine On

Drones begins in the Nevada desert, where new girl Sue Lawson joins airman Jack in a hot, windowless bunker from which they manoeuvre unmanned drones across the plains of Afghanistan. Their first day at work is awkward but polite, with Jack all too aware of Sue’s privileged status as daughter of a well-respected general. This, however, will be no ordinary mission: as they train their sights on an unarmed terrorist suspect, a power struggle erupts between the smart, sophisticated Sue and the dogged, blue-collar Jack.

After the earthquake; D. surrounds himself with nature, becoming a recluse. Both D. and the nature go through a transformation as the seasons change. Winds howl, waves soar and the crickets chirp no more. The storm wets the dried earth, healing its cracked surface and starting a new cycle of life. D. disappears and the summer house returns to its lonely existence.

Viewed at its seams, a National Geographic slideshow from the 1960s and '70s deforms into a bright white distress signal.

Shaping a concurrently indulgent and skeptical experience of the beautiful, the film draws an uneasy balance between the romantic and the horrid. A Frank O'Hara monologue (from a play of the same title) attempts to undercut the sincerity of the landscape, but there are stronger forces surfacing.

Set at an artificial reservoir in North Carolina, RESERVOIR (SEVEN FRAGMENTS) is a meditation on the unnatural histories of the American environment. The film approaches both the cinematic image and the landscape it captures as damaged, estranged things—things adrift in a world of irreparable discord.

“All that which in Picture is not of the body or argument thereof is Landskip, Parergon, or By-work” (Thomas Blount, Glossographia, 1656).

In SUNSPOTS, several 16mm shots of the sun are layered and superimposed, paired with a soundscape consisting of volcanos, fire, plastic and the audible solar sounds recorded by the Solar and Heliospheric Observatory (SOHO).

The short tells the story of a boy who rather spends his time indoors playing videogames instead of discovering whats waiting in front of the door. One day his Mum decides to get a little surprise for her son, which makes it hard for him to concentrate on his video game.

In 2046, many aspects of life are carried out on a virtual network. No matter how advanced the time becomes, however, bullying never disappears. Haruyuki is one of the bullied students. However, one day he is contacted by Kuroyukihime, the most famous person in the school. "Wouldn't you like to 'accelerate' and go further ahead, boy?" Haruyuki is introduced to the "Accel World" and decides to fight as Kuroyukihime's knight.

IJswee is a documentary film about an ice club, a village and the warm winters. In the film we follow Oringers, the inhabitants of Odoorn, through the winter. The Oringers all experience IJswee in their own way. You will also see the Icecounter (Rafael van der Ziel), who builds ice sculptures and drinks frozen milk. You see the Drenthe countryside changing with the weather. You see animations, archive material and you hear the mysterious sounds of IJswee in the music of Wietse de Haan. And there are two trumpet players, who welcome winter with their music and say goodbye to it.

Flora & Fauna embraces the dark charms of nature. Rich, colourful close-ups of flowers, leaves, ants, spiders, and inchworms blend into the silent mystique of water and woods.

Like millions of kids around the world, Santiago harbors the dream of being a professional footballer... However, living in the Barrios section of Los Angeles, he thinks it is only that--a dream. Until one day an extraordinary turn of events has him trying out for Premiership club Newcastle United.

World of Warcraft - Geschichte eines Kult-Spiels

In Titan's Goblet refers to a landscape painting by Thomas Cole circa 1833. The film is intended as a homage to Cole, who is regarded as the father of the Hudson River School of painting.

Sam Flynn, the tech-savvy and daring son of Kevin Flynn, investigates his father's disappearance and is pulled into The Grid. With the help of a mysterious program named Quorra, Sam quests to stop evil dictator Clu from crossing into the real world.

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

Some images of the landscape and the spaces that house them. "Every single entity contains an adumbration or landskip of the whole Universe" (Jan Baptist van Helmont, 1650). Images becoming life—life becoming images.

A prairie landscape undergoes a metamorphosis: rural idyll to over-urbanized dystopia. Director Anne Koizumi laments the changing face of her hometown of Calgary in this critique of the bacteria-like spread of suburbia and exurbia. This film was made as part of the third edition of the NFB's Hothouse apprenticeship.

An investigation about human intervention in nature, from the subjective point of view of the camera, the environment and its transformation are observed.

In Seán Martin's "Koan IV", an opening provocation suggests that the things we see continually hide the things we'd like to see. What we see after this is mist in a Scottish landscape. Martin's patient, enigmatic film contemplates a popular image of romance and intrigue attributed to a rural identity, alluding to what is hidden, what is real and what does not exist.