Day of the Dead

The first film in Vlatko Gilić’s Sisyphean trilogy, Homo sapiens follows a suited man as he takes a trek back and forth across a sandy desert to fill an oversized barrel using a woefully small tub of water. Shot in stark black and white and edited to achieve a dreamlike quality, the man’s devotion to this task is tested and taunted by a young couple that frolics around the barrel.

Experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with…a vampire?

It’s New Year’s Eve and while the Brussels’ city streets are teeming with drunken revelers, the paths of two solitary souls will cross. Max, a poor sod, is drowning his existential confusion in alcohol. Julie, a young woman, finds it impossible to reconcile herself with the bitter realities of her life. But on this festive night, they’ll try to put aside their personal mess and painful pasts. Unfortunately, that past remains hot on their heels. Max’s urgent money needs drove him to commit a robbery with a trio of idiots. Juliette missed a meeting with a bottle of sleeping pills and feels the urge to try again if she can’t find anything worth living. The clock is ticking away to midnight. Whatever happens, there will be fireworks!

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

An experimental and critical view on the decadence of Honduran society. It practically has no narrative structure, as it plays out as a day-in-the-life-of the eponymous Ángel, a kid who's a shoe-shiner.

A film about the dominance of time and space over a human being. A poetic reflection on the transience of material life characterized by a Mediterranean ambience, contemplation, mosaic structure, and repetitive editing patterns.

White Tape explores the theme of boundaries: the frame, the space between brushstrokes and the implications of occupation.

A priest arrives in a village and give advice and comfort to different people. He meets a wheelchair-bound former representative of the Communist party, a woman who is dying of tuberculosis and an astronomer who sings in a punk band.

One night, while celebrating at home with friends during the San Sebastián Street Festival, a pregnant woman is visited by three characters, who could be unfoldings of herself, and take her on an inner journey in search of her identity.

An exiled poet returns to his native homeland of Pangasinan province after many years of absence. Through a mystical soul journey, he reclaims his primal connection to the water (danum), to the land (dalin), and to the people (katooan) where in the end he finds a home to anchor his wandering soul.

A slow-burning prairie grotesque. On the grounds of a rural sanitarium, three young women search for wellness, as a cult leader seeks to control their bodies through labor and daily rituals.

A Polish folktale set in the Middle Ages, tells the story of a man, whose eyes, or the gaze of them, brings upon death.

Boy meets girl (or vice versa) and they predictably fall in love to follow the canons of the strictest convention.

If we lived in the world of cinema, could flowers blossom without withering?

Perrone switches back to color and chooses European painting as the space for his tale and as his land of experimentation. The stage: paintings by Manet, Monet, Renoir, among other chosen artists; still, open-air landscapes put together through their similarities. The characters who move there: two men, two women, two hunters, two ominous creatures (one of them a tiny creature of the night with two eyes and a brutish and wild human body). Divided in 18 acts, the narrative of this film is limited to showing brief episodes about desire and violence as the fuel of human endeavors, while its characters roam in the woods. With no words at all, Perrone wagers all on the juxtaposition of textures, on superimpositions, and on the power of face close-ups – these are his main arguments.

Neša Paripović's film N.P. 1977 (1977) is a film about a walk through the summer green city of Belgrade. In a way it´s a self-portrait of the artist who plays the main protagonist in the film. For the film title he has chosen his initials – as is the case with the two other films in a series of three produced between 1975-78.

Experimental film.

A lonesome man at the threshold of death finds himself trapped in a place called the Endless.

Break-up flick.

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.