The World Is Not a Landscape

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Based on the novel "Šta bi učinio Zobec?" (What Would Zobec Do?) by Svetozar Vlajković. It's a short movie about a young man who is afraid of being turned down by a girl.

Based on Plato's dialogue Charmides.

An obsessive Vine star goes down a road of surreal imagery, as his obsession with the application develops into murder.

Not an easy decision! District Administrator Hans Schuierer from the Upper Palatinate first opposed his own political line in 1981 and finally against the entire Bavarian Free State and Prime Minister Strauss. Because the planned reprocessing plant Wackersdorf promised 3,000 new jobs for the structurally weak region - but what if these are associated with massive health and ecological damage for future generations? Isn't it then the duty of a politician and citizen to resist?

Shot on 16mm, as part of the commercial shorts collection for the 53th Taipei Golden Horse Film Festival.

Each day after work, Carlos, a language school teacher, frequents the heady surroundings of his local cruising ground. One evening he encounters a teenage boy from his class named Toni, and the two engage in a brief sexual tryst. As the relationship between teacher and student begins to develop, some dark truths emerge about the young man and his mysterious group of friends.

CineSapiens

Two friends try to re-unite by going on a road-trip to the forests and mountains. Their attempt to reconcile does not go easy due to the secrets they hold, and a shocking revelation ends their journey.

In a nightmarish world, dominated by the decline and degradation of Man , Christ resurrected wandering, across three different eras of human history.

Number Two’ is an audio visual work which materializes the definite possibilities of sight and the existence of light in space with the drama in between image and sound as a reaction . It treats the surface of the film itself as a digital artefact that forms an image with a human intervention .It can be seen as an enlargement of a moment in time where form and space breaks inside an indefinite reality .

"Gerboise bleue", the first French atomic test carried out on February 13, 1960 in the Algerian Sahara, is the starting point of France's nuclear power. These are powerful radioactive aerial shots carried out in areas belonging to the French army. Underground tests will follow, even after the independence of Algeria. From 1960 to 1978, 30,000 people were exposed in the Sahara. The French army was recognized recognized nine irradiations. No complaint against the army or the Atomic Energy Commission has resulted. Three requests for a commission of inquiry were rejected by the National Defense Commission. For the first time, the last survivors bear witness to their fight for the recognition of their illnesses, and revealed to themselves in what conditions the shootings took place. The director goes to the zero point of "Gerboise Bleue", forbidden access for 47 years by the Algerian authorities

An experimental film that lifts the veil on the world of African American drag racing.

Ein Dorf sieht Mord

Fictional story of a traffic accident that triggers a catastrophe near a small village in 1990. A liquefied gas truck collides with a transport truck carrying radioactive material for reprocessing. An accident that was never thought possible by human standards. The radioactivity released must be contained at all costs. Not only the catastrophic consequences of the radiation, but also the panicked, irrational and inhumane behavior of those trapped in the village and the German army are portrayed in an almost unbearable way in this film.

Bert Deling's surreal, button-pushing and hallucinogenic paean to the emerging possibilities of avant-garde and homemade filmmaking. Telling the tale of a violent ex-cop searching for the man who killed his partner, the film takes an unexpected turn when he encounters drug lord Plastic Man and a tribe of LSD enthusiasts. What follows is both literal and metaphorical mayhem as the boundaries of the film start collapsing and our idea of what's real is pushed to its very limits.

A very personal interpretation, to say the least, of the passion of the Christ According to St. John.

Three adrift artists wander around a college campus and its local sites as they struggle to engage with art and its creation.

A couple, Vlad and Sophy, navigate their relationship as well as their own struggles with mental health in the context of a highly connected, politically uncertain modern world while on a trip to a remote Canadian island in this avant-garde feature film. PREFACE TO A HISTORY, created with a tiny crew of four people, represents an experiment in using minimalist tools to create an overwhelming aesthetic experience in service of a simple, but specifically contemporary, story about two people attempting to navigate a fraying relationship amid all the anxieties and external pressures of modern adulthood in a technologically-interconnected and politically unstable era.

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