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It’s often a sense of shakiness which emerges in seeking affordable rent. Furthermore, leasing a real estate in the time of Covid it’s an enough though enterprise due to the different restrictions in moving freely and without any fear even visiting the venue, still not to mention the angst before the future that a change in life like a relocation involves so that everything starts spinning around. Such a pretty much postmodern sensation should have had Hazel in the Synecdoche, New York by Charlie Kaufman when she rents a burning house, which becomes quite her home yet with this persisting sense of precarity still not precluding to keep going. The experience is now translocated in another city, Turin. It still remains a burning house in a burning city, however it becomes home to someone.

IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

SPEED is the result of an artificial intelligence transforming bin footage into something beautiful in order to free the planet from pixel pollution. By video recycling trash shots into video art using the latest algorithm technology, visual art may help to understand our limited resources on earth and how to use them in a respectful manner. Every day we produce millions of clips sharing them on social media without even noticing anymore how much pixel garbage we create. At the same time, we produce every day millions of tons of plastic waste, polluting our environment without even noticing it anymore. SPEED wants to be a symbol of change as we are running out of time.

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.

Heart Murmurs is a poetic dialogue between the filmmaker and Dean, a young man living in Hong Kong. In reflecting on his experience living with a congenital disability and HIV during the first years of the COVID pandemic, Dean expresses his sense of self in the face of regular medical challenges.

CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

fragments from song lyrics of different artists have given life to this story about love, loss and desperation.

Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.

On December 11, 2022, Ryuichi Sakamoto's solo piano performance will be streamed in the form of a concert. However, what we will experience that day is carefully recorded footage of Sakamoto performing a few pieces of music each day over the course of a week, that was then thoughtfully edited together. This is last performance.

Under the relentless sun, a killer stalks through the mountains, where the innocence of a young couple becomes prey. With no shadows to hide their fate, the hunt is a macabre game in broad daylight, where fear is not hidden in the darkness, but burns with the rawness of the unperturbed noon.

"I envy the Japanese" Van Gogh wrote to his brother Theo. In the exhibition on which this film is based - VAN GOGH & JAPAN at the Van Gogh Museum in Amsterdam - one can see why. Though Vincent van Gogh never visited Japan it is the country that had the most profound influence on him and his art. One cannot understand Van Gogh without understanding how Japanese art arrived in Paris in the middle of the 19th century and the profound impact it had on artists like Monet, Degas and, above all, Van Gogh. The film travels not only to France and the Netherlands but also to Japan to further explore the remarkable heritage that so affected Van Gogh and made him the artist we know of today.

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).

Hercules travels by bicycle from Krefeld on the Lower Rhine to Olympus, the throne of ancient deities. The Hercules myth, as a primal myth of male power, is questioned through biographical reflections and the staging of mythological echoes. The dramaturgical structure of the hero's journey disintegrates in a multi-material perspective into questions about male identity, ideals and remorse.

“Beneath the Concrete, The Forest” is a short experimental documentary that takes us inside an ongoing struggle inside the city of Atlanta, GA between two sides to determine the future of Weelaunee, the biggest contiguous urban forest in the country.

An old woman is carrying shopping bags. A child with a gun is riding a scooter. Birds are flying. A city is falling. A party is lit.