Ich lebe in der Gegenwart - Versuch über Hans Richter

Errol Morris examines the incidents of abuse and torture of suspected terrorists at the hands of U.S. forces at the Abu Ghraib prison.

Over a period of six years, director James Bluemel and producer Gordon Wilson followed epileptic alcoholic Nigel (37) from Oxford, England, who managed to slip through the net of the welfare system for 66 months. Self-mutilation, alcohol, and childlike delusions mean Nigel is a vulnerable man. In the words of his social worker, "Nigel has been abused financially, sexually, and emotionally for years." She's referring to the days when, while out "in the wild," a man named Robbie took Nigel under his wings. He was like a father to Nigel, while at the same time absolutely unfit for the role of caregiver, especially because he couldn't keep his hands to himself.

The Whole Truth and Nothing but the Truth

Footage from summer of 2018 that explores the passing of time regarding the little things in life.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

We all carry hell with us. The filmmaker’s hell exists on a canvas, which he studied carefully in childhood. The mystical picture has many names: Circus, Hell, Game at the Arena. Decades later he finds the painting again. The film unravels as loose ponderings about the plight of being an artist and touches upon the filmmaker’s personal demons. Can he see the painting in a new light?

A day in the life of an 'organillero' as he plays his music in the streets of a Chilean city.

This year our mid-summer’s night was adorned with a glorious full moon. The weeks and days preceding the solstice were magically alive with crisp, cool breezes, bright, warm sunlight, and a general sense of heartbreaking clarity. The Dreamer is born out of this most poignant San Francisco spring.

A short film portrait of legendary filmmaker Jonas Mekas, talking about the Buddha and the meaning of life.

A day in the life of director Boris Lehman: he wanders from cafe to bookshop, cinema to museum, writer to musician, and into the storeroom of the film archive... He celebrates his birthday in an alleyway, with a friend, and finishes his journey with an escapade to Bruges and a stroll by the North Sea. The camera plays dirty tricks and the sound recorder gets carried away, to the point that both are clearly telling Boris to stop filming. Yet he persists…

Moment of Impact: Stories of the Pulitzer Prize Photographs, hosted by Sam Waterston, tells the compelling stories behind some of the world's most memorable photographs. Returning to the scene of the action, each photographer describes, in a gripping first-hand account, how they took their prize-winning photographs. The moments they captured forged history and changed lives - including the photographers own. The stories of these unforgettable photographs' own. The stories of these unforgettable photographs - many of them shown here for the first time - are as compelling and long lasting as the images themselves.

Taking a cue from Franz Kafka's "Letter to My Father," this highly personal film follows Czech director Jan Nemec as he attempts to engage in a dialogue with his deceased mother. While alive, Nemec's mother had a troubled relationship with her son; this rumination seems to be Nemec's public platform for coming to terms with unresolved familial issues. The director embellishes his film by linking personal events with 20th century history.

An experimental film about the city of Stockholm.

A journey into the hearts, minds and eyes of Georgia O’Keeffe, Emily Carr and Frida Kahlo - three of the 20th century’s most remarkable artists.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

The film tells the story of James Morrison’s early years, painting the tenements of Glasgow, through to his dramatic encounter with a polar bear while painting melting icebergs in North West Greenland. As the artist struggles with imposing blindness, the film follows James, as he prepares for what turned out to be his last ever public exhibition at the Scottish Gallery in Edinburgh in January 2020.

Fotografové smrti

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

Lesbian director Brigid McFall and lesbian photographer Vic Lentaigne create a series of intimate, revealing portraits of what it means to be lesbian in 2022, exploring why it is that so many young women who are sexually attracted to other women now prefer to identify as queer.