After Hours

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

CREMASTER 1 (1995) is a musical revue performed on the blue Astroturf playing field of Bronco Stadium in Boise, Idaho - Barney's hometown. Two Goodyear Blimps float above the arena like the airships that often transmit live sporting events via television broadcast. Four air hostesses tend to each blimp. The only sound is soft ambient music, which suggests the hum of the engines.

Follows the plight of real-life dancers as they struggle through auditions for the Broadway revival of A Chorus Line and also investigates the history of the show and the creative minds behind the original and current incarnations.

A year in the life of troubled Australian graffiti artist Justin Hughes.

Behind the scenes documentary on the making of the film.

A woman enters a bar and asks for a bit of conversation, but what she gets in return is a bunch of bad pickup lines sung to her by a cowboy and the bartender singing the cowboy's virtues.

On October 17, 1961, the popular and pioneering pianist-composer Dave Brubeck performed on Ralph Gleason's Jazz Casual, the television show that showcased some of the finest jazz artists in a half-hour of no-frills performance and conversation. Backed by the Lester Young-influenced alto saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello, Brubeck and his combo perform some of their odd-metered hits. Desmond's dancing ditty, "Take Five" is rendered in a faster tempo than the studio version. Brubeck's ragtime-flavoured "(It's a) Raggy Waltz," highlights his percussive piano lines, while "Castillian Blues" and the Turkish strains of "Blue Rondo a la Turk" reveal his multicultural, compositional genius. Gleason, the show's creator and host, was a well-respected, San Francisco-based jazz critic and author. He remarks during the show that Dave Brubeck was "a provocative, experimental, and interesting musician." That statement is still true today.

POWER

A display of flower bouquets, rotating to show the Kinemacolour process.

A documentary about rock scene of Niš, the third largest city in Serbia.

A young boy who likes to play the flute dreams that he has lost his water buffalo.

Tehran Is the Capital of Iran (1966-79) documents life in a deprived district in the south of Tehran. The images of destitution in Tehran's poor areas is accompanied by a variety of spoken accounts: the official viewpoint on the district's living conditions, what the inhabitants have to say, and occasional extracts read out of school manuals. The key element in Shirdel's film is the counterpoint effect he creates with image and sound. His impressively powerful portrayal of social unease helps reinforce the impact of his astonishing documentary images and social themes.

Exode

Presents the history of the domestic cat, tracing the animal as a house pet and as a symbol of mystery and worship from ancient Egypt to the present day. Offers hints on the care and treatment of cats in homes of today.

The Hot Club of Montevideo is a Uruguayan cultural institution founded in 1950 by the pianist Paco Mañosa, along with his brother and some friends who played together. It was the first club dedicated exclusively to jazz in Latin America.

This short film served as an invitation to the World's Fair that was held in Montreal in 1967. It was largely considered to be the most successful World's Fair of the 20th century with over 50 million visitors. The film presents impressions of the event and of Montreal at its liveliest and most exciting moment in history.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

An attempt to erect a virtual memorial for the victims of the Bosnian war, using archive material, videos and statements from survivors in a 3D animation.

An european artist writes about his experience in portraying life in Brazil during the colonial period. Aporteiro – concierge and security guard in one – watches the surveillance cameras in a residential building, while reflecting on his profession and the relationship with his employers. Between the exotic idyll of front yards and deterrent technology, his task is to establish security and normality. Brazil’s troubled past and complicated present come together in this highly charged film.

In November 2017, a devastating earthquake hit western Iran. It took only 13 seconds to lose everything. This is a fleeting observation of the days after the disaster.