Confession

In the nineteenth century, a French adventurer sets off to establish a kingdom in the inhospitable South of Chile, uniting the feared Mapuche under him. The response of the Chilean army is devastating.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

In Razor Blades, Paul SHARITS consciously challenges our eyes, ears and minds to withstand a barrage of high powered and often contradictory stimuli. In a careful juxtaposition and fusion of these elements on different parts of our being, usually occurring simultaneously, we feel at times hypnotised and re-educated by some potent and mysterious force.

A Los Angeles detective discovers the unbelievable while searching for a missing child and in the aftermath his life begins to unravel.

An experimental docu-fiction short from hours of collected material shot by the director. Different scenes, from drunk parties with friends to shots of the Dutch landscape during a train ride, are cut together to see if a narrative story can be constructed from nothing but randomly shot footage.

Young artist Kyoko wreaks havoc on everyone that she encounters when Japan's oldest major movie studio asks a batch of venerable filmmakers to revive its high-brow soft-core Roman Porno series.

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".

Contemplates the notion of "identity" through the experiences of a Puerto Rican woman living in the US. In a wonderful mix of fiction, archival footage, processed interviews and soap opera drama, the film tells the story of Claudia Marin, a middle-class, light-skinned, lesbian Puerto Rican photographer / videographer who is attempting to construct a sense of community in the US. Confronting the simultaneity of both her privilege and her oppression, this experimental narrative becomes a meditation on class, race, and sexuality as shifting differences.

In this avant-garde look at a series of unique or eccentric men and women, director Stavros Tornes has created a film that is visually engaging, but too obscure in many points to be understood. The main protagonists are a young taxi driver -- a man who has had some very unusual, puzzling, and inspirational experiences -- and a middle-aged painter he gains as a new friend. The two men are complemented by a few tough women (all played by the same actress), a pair of verbose politicos, and a handful of other distinctive characters. By the end of the movie, transformations are in store for the pair of friends, reflecting the tenor of the film throughout. ~ Eleanor Mannikka, Rovi

A Philosophy - Monopáti

A meditation on freedom and technological approaches to manifest destiny.

Marital Rape Is Real is a short film adapted from several published essays on marital rape by Shanon Lee.

A group of Staten Island radicals lead by ex-philosophy student Marie and her boozy filmmaker boyfriend Nick attempt to kidnap the CEO of the Leo Corporation but instead accidentally capture Daniel, a nutty small time accountant. With Daniel in custody at their commune, several of the radicals attempt to 'revolutionize the bedroom', an endeavor further complicated by a surprise visit from Marie's tough boy ex-lover Junior.

Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.

In this child's game, a live-action boy and girl draw characters and compete who is better. The girl draws a flower and the boy draws a car that runs it over. Then a drawn lion chases a drawn girl, until it all becomes frightfully serious.

A story of diaspora. The film criticises the myth of Swiss neutrality, which violently masks structural, systemic, and social passivity.

Grappling with the burden of loss, a drifter becomes engulfed in the reckless lifestyle of a group of bohemians. Through a series of events, he is forced to confront his trauma as his haunted past and unconventional present collide.

The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.