End of Summer

The creative processes of avant-garde composer Philip Glass and progressive director/designer Robert Wilson are examined in this film. It documents their collaboration on this tradition breaking opera.

A documentary of insect life in meadows and ponds, using incredible close-ups, slow motion, and time-lapse photography. It includes bees collecting nectar, ladybugs eating mites, snails mating, spiders wrapping their catch, a scarab beetle relentlessly pushing its ball of dung uphill, endless lines of caterpillars, an underwater spider creating an air bubble to live in, and a mosquito hatching.

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.

This programme tells the story behind the conception, recording and release of this groundbreaking album. By use of interviews, musical demonstration, performance, archive footage and returning to the multi tracks with Ahmet Zappa and Joe Travers we discover how Frank Zappa and The Mothers of Invention created the album with the help of legendary African- American producer Tom Wilson.

Álbum de recortes

Frank Scheffer's (collage like) documentary on the American composer and rock guitarist Frank Zappa, as broadcast by VPRO in the Netherlands April 22,2007. Most of what’s on here is seen before, particularly in Roelof Kier’s 1971 documentary and/or Scheffer’s own documentary “A present day composer refuses to die”. But there is some new stuff too, particularly interviews with Denny Walley, Haskell Wekler, Elliot Ingber and Bruce Fowler.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

An exploration of technologically developing nations and the effect the transition to Western-style modernization has had on them.

As a major storm strikes Texas in 1900, a mysterious televisual device is built and tested. Blake Williams’ experimental 3D sci-fi film immerses us in the aftermath of the Galveston disaster to fashion a haunting treatise on technology, cinema, and the medium’s future.

A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.

THE MACHINE

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

Shot under extreme conditions and inspired by Mayan creation theory, the film contemplates the illusion of reality and the possibility of capturing for the camera something which is not there. It is about the mirages of nature—and the nature of mirage.

Hauntology of the Retrodromomania is an essayistic motion picture, a locomotory legwork, a deambulatory non-rural land survey, a casual journeying in a punctual dissertation around the phenomenon of the nostalgic feeling, discoursing on a late capitalistic landscape of social emotions, which are of yore, yet coloured of the postmodern tint of pixelated neo-noir, a socio-philosophical flâneur’s trip in critical theory escorted by the spirits of French post-structuralists. For a Sociology of Nostalgia revisited.

A documentary shot by filmmakers all over the world that serves as a time capsule to show future generations what it was like to be alive on the 24th of July, 2010.