The Fatal Telephone

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

Grappling with the burden of loss, a drifter becomes engulfed in the reckless lifestyle of a group of bohemians. Through a series of events, he is forced to confront his trauma as his haunted past and unconventional present collide.

Three kids are trying to stand strong. In a world where you don’t know for what you want to stay strong. Full of sexuality and the need to define their identity. “We are the children with no obligations, the most possibilities, with the most liberated freedom. We are children who build words. Children who give birth to children. We are children of our time, free from guilt.”

A story of diaspora. The film criticises the myth of Swiss neutrality, which violently masks structural, systemic, and social passivity.

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly political work, for many viewers it raises sensitive issues about race, homoeroticism and violence. It depicts two naked men – one of whom is the artist – tussling and teasing one another in an encounter which shifts between tenderness and aggression. The film is silent but a series of stares, glances and winks between the protagonists creates an optical language of flirtation and threat.

A divorced journalist Marko Požgaj starts his working day by taking his son to the school. During the day many thoughts and images pass through his mind - the memories of childhood, ex-wife, current girlfriend, but mostly his father who died in a war.

An experimental film about peaceful and carefree life in a small Dalmatian town, which turns into bloodshed and horror on the Eve of Italian occupation of the country.

After Charlie takes an unknown psychotropic drug, she and her secret lover are transported to a strangely sinister paradise.

A woman's waiting for a man who will never return, another one boxing proudly the vacuum, a singer without orchestra, a conductor lonely. Lonely characters united by a fable, a naked young man lost in the woods, chasing or fleeing something.

The daily lives of three young women that live together in a big city in Brazil and go through crucial moments in their lives.

In the nineteenth century, a French adventurer sets off to establish a kingdom in the inhospitable South of Chile, uniting the feared Mapuche under him. The response of the Chilean army is devastating.

To prevent himself from going insane in isolation, a young filmmaker conjures up an idea about a demented experimental director who tries to convince his harshest critic to enjoy his work.

Marital Rape Is Real is a short film adapted from several published essays on marital rape by Shanon Lee.

Young artist Kyoko wreaks havoc on everyone that she encounters when Japan's oldest major movie studio asks a batch of venerable filmmakers to revive its high-brow soft-core Roman Porno series.

A Los Angeles detective discovers the unbelievable while searching for a missing child and in the aftermath his life begins to unravel.

In Razor Blades, Paul SHARITS consciously challenges our eyes, ears and minds to withstand a barrage of high powered and often contradictory stimuli. In a careful juxtaposition and fusion of these elements on different parts of our being, usually occurring simultaneously, we feel at times hypnotised and re-educated by some potent and mysterious force.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

In this avant-garde look at a series of unique or eccentric men and women, director Stavros Tornes has created a film that is visually engaging, but too obscure in many points to be understood. The main protagonists are a young taxi driver -- a man who has had some very unusual, puzzling, and inspirational experiences -- and a middle-aged painter he gains as a new friend. The two men are complemented by a few tough women (all played by the same actress), a pair of verbose politicos, and a handful of other distinctive characters. By the end of the movie, transformations are in store for the pair of friends, reflecting the tenor of the film throughout. ~ Eleanor Mannikka, Rovi

Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".