The Living Stone

Raffael – Ein sterblicher Gott

David Hockney is unquestionably one of the most passionate and versatile experimental artists on the contemporary scene. In the late 1970s the British artist developed a pioneering concept which also changed his perspective on painting – his “joiners”. In this film, the artist himself talks about this photographic approach, a kind of Cubism-inspired photocollage which explores the space-time continuum. Hockney allows the viewer to share in the creative “joiner” process and leads us step by step into the universe of his artistic creativity.

Standsinwater Sutherland is 2Spirit Cree living in Northern Ontario. Holding her eagle feather, she sits and tells her story: her quest to identity, how teachings learned along the way took her from the concrete jungle of Toronto back to her reservation and her commitment to help her community regain their culture and traditional ways.

The documentary, made by the students of RUFA documentary course, followed Alice Pasquini for many months, resuming her pictorial interventions, interviewing friends and family, collecting archival material and participating in meetings for the realization of the book. The flow of images is a sort of specific itinerary that Alice Pasquini takes when she decides to give form and substance to what her mind imagines.

A documentary essay on coming of age and the power of the unconscious. In the same vein as Sweatlodge Song, this is a message of courage and hope.

An intimate and thrilling portrait of a young Siksika woman and the deep bonds between her father and family in the golden plains of Blackfoot Territory as she prepares for one of the most dangerous horse races in the world… bareback.

Conservation groups, First Nations, and scientists come together in this timely short film, as a decades-long battle to protect endangered old-growth forests in BC escalates at Fairy Creek (the last unprotected, intact valley on southern Vancouver Island). The film explores the characters’ individual relationships with ancient forests, and why it’s imperative we collectively protect them. It touches on potential solutions, like a transition away from old-growth in the future of logging, and Indigenous sovereignty.

This film is dedicated to Maria Lai, an artist born in 1919 in Ulassai, Sardinia. Surrounded and inspired by the ogliastra countryside, the cyclopic guardian of plots and landslides, Maria Lai uses inert materials like stone, concrete, asphalt, metal and wood to work old and new legends into librettos of individual works, installations and interventions, thus becoming part of the landscape that calls to her. In making this film the authors have confided in the artist’s role as a spokeperson, and it is as if one is listening to the voice of a wild olive tree - both millenary and contemporary - a voice that knows what to say (and can say whatever it wants) from beyond the boundaries of reality, history, nature and art. As that tree, the artist - confident of her roots - with a sound sense of rhythm and scansion, multiplies big and small stories, just as she did with the bread and fish in Santa Barbara di Ulassai along the way to the country church.

Père-Lachaise - one of the world's most famous and beautiful cemeteries - is the final resting-place of a gifted group of artists from all eras and corners of the world. Some - such as Piaf, Proust, Jim Morrison and Chopin - are worshiped to this day. Others have fallen into oblivion, or are visited occasionally by a single admirer. In Forever we see the mysterious, calming and consoling beauty of this unique cemetery through the eyes of people of flesh and blood. Many come for their 'own' beloved: husbands, wives, family and friends. Others Honor 'their' artist by leaving behind a personal message or a flower. While admirers share with us the importance of art and beauty in their lives, the graveyard gradually reveals itself as a source of inspiration for the living. Death offers little consolation except for the passing of time, the melancholia of a moss-covered tomb, and the beauty and power of a piece of music, a poem or a painting Written by Cobos

Amá is a feature length documentary which tells an important and untold story: the abuses committed against Native American women by the United States Government during the 1960’s and 70’s: removed from their families and sent to boarding schools, forced relocation away from their traditional lands and involuntary sterilization. ​The result of nine years painstaking and sensitive work by filmmaker Lorna Tucker, the film features the testimony of many Native Americans, including three remarkable women who tell their stories - Jean Whitehorse, Yvonne Swan and Charon Aseytoyer - as well as a revealing and rare interview with Dr. Reimart Ravenholt whose population control ideas were the framework for some of the government policies directed at Native American women.

Years ago, artists would walk around the muck at the edge of the San Francisco Bay in Emeryville, and build loads of sculptures out there on the flats, created from driftwood and found objects that drivers would enjoy as they motored south on the old Highway 17 (known in numerous radio ads as 'Highway 17, The Nimitz'). Grabbing material off someone else’s work was considered fair game and part of the fun, and contributed a kinetic dynamic to the ongoing display. Now the place is a park, and the sculptures are gone, but you can see what it used to be like in this neat and funny documentary by Ric Reynolds, augmented by Erich Seibert’s wonderful musique-concrète/time-lapse sequences. The flashback circus sequence includes Scott Beach and Bill Irwin. Sculptors interviewed include Walt Zucker, Tony Puccio, Robert Sommer, Ron & Mary Bradden, and Bob Kaminsky.

This short documentary chronicles a four-month period between 1979 and 1980 when residents of Hawaii's Sand Island "squatter" community attempted to resist eviction from the Honolulu shoreline - resulting in displacement, arrests, and the destruction of a community.

Carrie Davis was part of the child removal system near the end of the Sixties Scoop. With guidance from her uncle Emmett Sack and the community, Carrie reconnects to their land, language, and culture.

The odyssey of the Mayice designers, who had to face to bring an impossible-to-manufacture piece to the Rossana Orlandi gallery, in Milan, in time to be exhibited at the Salone.

Uapishka

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

In this feature-length documentary, three generations of the Caribou Inuit family come together to tell the story of their journey as Canada's last nomads. From the independent life of hunting on the Keewatin tundra to taking the reins of the new territory of Nunavut on April 1, 1999, we see it all. The film is the result of a close collaboration between Ole Gjerstad, a southern Canadian, and Martin Kreelak, an Inuk. It's Martin's family that we follow, as the story is told through his own voice, through those of the Elders, and through those of the teens and young adults who were born in the settlements and form the first generation of those growing up with satellite TV and a permanent home.

It is difficult to characterize Slobodan Tišma. He is unique and versatile. He wanders with joy throughout the artistic landscape, drawing it with his words since the early sixties. He started as a poet, he was a conceptualist, an "invisible artist" and a rock musician ("Luna"/"La Strada"- former Yugoslav New Wave bands). Currently, he is a prose writer, and sometimes he engages in minimalistic performances. Wearing different masks he moved from one artistic space to another breaking the stereotypes and creating an aesthetic phenomenon out of his own existence. His mainstay is margin. Through trees and ocean he communicates with the universe. He loves the game of seeking, and hiding again. He is a persistent walker. With his silent steps he pops up daily in the corners of Novi Sad, searching for his own pleasure. Similar to his writings, this film has no formal completeness and comprehensiveness. It wonders who Slobodan Tišma is.

Enter the imaginative world of acclaimed sculptor Rolanda Polonsky, who had been a resident of Netherne Psychiatric Hospital in Coulsdon, Surrey for 26 years when this film was made. One of the positive aspects of her illness, described in the film as a schizophrenia, is that it "tapped a deep source of mystical vision and human feeling" which finds expression in her work.

Documentary chronicling the government relocation of 10,000 Navajo Indians in Arizona.