Roman Numeral: I

Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

The cinematic kiss is probably one of the most archetypical images to be found in film history. It is usually a reassuring and sometimes climactic element in a movie's storyline. Not in Nicolas Provost's 'Gravity' though: with stroboscopic effects, more than a dozen kissing scenes, most from stereotypical 1950s romantic dramas, are edited together and superimposed. Narrative is subverted as the kissing is isolated from its context entirely; the action slows down and flickers back and forth. Every now and then, shots from different films overlap and match; protagonists merge and diverge again a few seconds later. The sugary and dramatic soundtrack of romantic film music contrasts with the deconstructed images; together, they form a dazzling 6-minute vertigo where love becomes a passionate battle.

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

Experimental feature about two young men trying to make a film.

In 1983, yacht sailor Will Parker leads an American crew financed by millionaire Morgan Weld to defeat during the America's Cup race against an Australian crew. Determined to get the prize back, Will convinces Morgan to finance an experimental boat designed by his ex-girlfriend Kate's new beau, Joe Heisler. When the boat is completed, the Americans head to Australia to reclaim the cup.

Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.

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.

In December, 1941, using music by Stravinsky, this film provides a reaction to the Japanese attack on Pearl Harbor. An egg is smashed by a hammer; red color with white and then blue dominates the frame. Blue paint runs; small bulbs float. The dark colors spread. White, red, blue, and black dominate the frame. Then comes fire. The bulbs burn and break. A broken bulb's filaments are exposed.

A subway passenger suffers from hallucinations and sees the metro that he has just boarded accelerate and gain speed quickly.

A woman carries a cat in a shopping bag that refuses to be petted. Tired of its behaviour, she violently strikes the bag repeatedly against a wall. Then, with the blood of the animal, she draws a heart pierced by an arrow.

A man's car somehow becomes completely autonomous and takes the powerless driver, to a scrap yard, or a 'cemetery for cars', where several more vehicles are waiting to be crushed by powerful reducing machines, their passengers still inside.

A man is horribly tortured by another who wants him to reveal where his girlfriend is hiding.

A couple are watching television together. Over time, the shows become more bizarre: a news report about the arrest of two terrorists reveals they have the same faces as the two spectators; in another, a female strips for the man and finally a politician demonises the couple and declares them enemies of the people. Panicked, the couple phone a television exorcist.

The strange transformation of a surveillance camera.

Beaches are closed during the COVID-19 pandemic. Nevertheless, the middle class must survive the tropicals.

Elaborate petal-like and multicolored flowers rising in white space until the whole field is as if crushed by floral designs in madly-swift mixtures of every conceivable previous shape from the Persian Series. Preserved by the Academy Film Archive in 2013.

Inside the claustrophobic scenery of a fancy apartment in the city of Frankfurt three men and a woman lock themselves in for ten days. Oskar and Julia are a couple. They have sex and let themselves be filmed. Benjamin and Bastian are behind the camera, trying to get pictures of absolute intimacy. Closeness as it can only be found among lovers.

Hand painted, scratched animated Super 8 film examining the contradictions of the psychopathology of colonization.

Tale about the fragility of power, the story of a David and a Goliath. Animated frame by frame with modeling clay on a light box's glass.