fugitive l(i)ght

Based on the letters of a fictitious poetess to her lover. Duras reads extracts from the letters, about the poetess’s Jewish past, while the film shows stark waves beating against the seashore. – BFI

Based on the letters of a fictitious poetess to her lover. Duras reads extracts from these letters, as the film shows a boat journey down the Seine, past familiar bridges and landmarks. – BFI

Twenty six year old Momo works quietly at her office and finds secret pleasure in growing a terrarium in her locker. A chance meeting with a mysterious gardener is all that’s needed to bring about a gradual and positive change in this mousy office worker.

Kanako Seri is on a packed bus heading to band practice. She becomes fascinated by a melody being hummed by another passenger, an old woman.

Sumiko is a university student who is blessed (or suffers) from a special ability to instantly grasp the BPM (beats per minute) of almost anything. One day she meets a boy who inexplicably sends her own BPM off the charts!

Thirty-six-year-old Haruo Higashino is a tongue-tied failure who doesn’t fit in at work or at home. He uses a form of internal rap, a silent scream within, to release the emotional stress that he is too cowardly to say, or sing, out loud.

A heartbroken man gets a second chance at redemption when he's able to deliver his wife's dying wish to another longtime companion, his faithful TV.

The end of evolution awaits us in a wasteland dominated by bizarre trash formations, dust and rock. From the scattered remains of a long forgotten culture an electric ecosystem rapidly evolves into the ultimate form of existence.

The Gay Parisian is an American short film produced in 1941 by Warner Bros. featuring the Ballet Russe de Monte-Carlo and directed by Jean Negulesco. The film is a screen adaptation, in Technicolor, of the 1938 ballet Gaîté Parisienne, choreographed by Léonide Massine to music by Jacques Offenbach. It was nominated for an Academy Award at the 14th Academy Awards for Best Short Subject (Two-Reel).

The first of a series of six two-reel "Musical Parade" shorts produced in Technicolor for the Paramount 1943-44 production season. The series would continue into 1948, and then were reissued in the early 50's. Songs included "All the Way" and "At the Mardi Gras."

After a job interview gone wrong, Lulu sets sail leaving her husband and three children behind. But being an adventurer is easier said than done.

Ballroom dancers Veloz and Yolanda perform the various dance fads of the first half of the twentieth century.

A hapless, bad-luck prone loser meets a free-spirited Frenchwoman who inspires him to get his life back on track.

"Butoh: Body on the Edge of Crisis" is a visually striking film portrait shot on location in Japan with the participation of the major Butoh choreographers and their companies. Although Butoh is often viewed as Japan's equivalent of modern dance, in actuality it has little to do with the rational principles of modernism. Butoh is a theater of improvisation which places the personal experiences of the dancer on center-stage. By reestablishing the ancient Japanese connection of dance, music, and masks, and by recalling the Buddhist death dances of rural Japan, Butoh incorporates much traditional theater. At the same time, it is a movement of resistance against the abandonment of traditional culture to a highly organized consumer-oriented society.

The dance film When the Night Falls tells the story of a woman fleeing the horrors of a collapsing society in the near future. Along the way, she encounters people on whose trust her entire future depends on.

After the sudden death of their father, four children face cruel treatment from their ruthless grandmother.

A young woman becomes pregnant and is abandoned by her lover, just as her mother had been.

A documentary following the conscious evolution of electronic music culture and the spiritual movement that has awakened within.

In 1947, two years after the end of the Second World War, Film Journal No. 1 was released in Sarajevo. Fifty years later, after the collapse of the Communist bloc, this newsreel was lost in the confusion of the fighting in Yugoslavia. In Journal No. 1 Hito Steyerl attempts to find out how the footage got lost and what was on this document from the Sutjeska studio. In the simultaneous projection of Journal No. 1 the ‘unattainability of an historical zero hour of the national identity’ takes concrete form: The lost newsreel reports on a literacy campaign as well as Muslim women confidently removing their headscarves. We listen however to eyewitnesses trying to recapture the lost content and we see the artist Arman Kulasic making a number of drawings that resemble the story-boards for the lost film. What appears to be moments of great change remain limited by subjective and uncertain memory. The film was premiered at documenta 12.

Som, an ordinary young woman who works as a movie make-up artist. Her longtime live-in boyfriend Rang is also in the business. But the handsome musclebound prop guy – always wearing tight, biceps-baring vest T-shirts – captures many adoring eyes, like that slutty actress, but also his straight-acting gay boss and just about anyone else with a pulse.