In continuo

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

Some occurrences themselves are forgotten and being got rid of any copyrights. What’s more these occurrences were created and shared by people in a certain place. Although these occurrences are worthless, they are still meaningful for reservation. When the places that something occurred have changed gradually, will occurrences themselves die out soon? As an individual, I may record something.

The film is a trip to the planet Muscovy - an upside-down twin city of Moscow in space. As the title of the work suggests, the journey also takes us back in time. Gliding over the surface of the planet, we look down and see historic architectural styles fly by - the exuberant Socialist Classicism, aka Stalinist Empire, the austere and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem.

Experimental film directed by Dmitry Frolov, shot in the midst of perestroika in the USSR. February 1991. Starring the drummer for the MEANTRAITORS Vladislav Lyashchuk - a very peculiar musician played without bass drums and Toms.

#13, glancing, or avoiding.

Hauntology of the Retrodromomania is an essayistic motion picture, a locomotory legwork, a deambulatory non-rural land survey, a casual journeying in a punctual dissertation around the phenomenon of the nostalgic feeling, discoursing on a late capitalistic landscape of social emotions, which are of yore, yet coloured of the postmodern tint of pixelated neo-noir, a socio-philosophical flâneur’s trip in critical theory escorted by the spirits of French post-structuralists. For a Sociology of Nostalgia revisited.

"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture." - Anita De Groot

In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.

This engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste #10 (March 1966). Along with additional commentary adapted from Barbara Kruger and musicians Morrissey and Skinny Puppy, the text posits rioting as a refusal to participate in the logic of capital and an attempt to de-fetishize the commodity through theft and gift. Cokes asks, “How do people make history under conditions pre-established to dissuade them from intervening in it?”

Ostensibly a portrait of a place where the artist had resided until recently, the new film by Robert Beavers conjures not only the memory but also the physical presence of those who have previously stayed there. Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my Room is a moving testament to existence (whose traces are found in literature, music, filmmaking, gardening) and our endless search for meaning and authenticity. The film's precise yet enigmatic sound-image construction carries a rare emotional weight.

Hutton's most impressive work ... the filmmaker's style takes on an assertive edge that marks his maturity. The landscape has a majesty that serves to reflect the meditative interiority of the artist independent of any human presence. ... New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in NEW YORK PORTRAIT; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. With an eye for the ordinary, Hutton can point his camera toward the clouds finding flocks of birds, or turn back to the simple objects around his apartment struggling to elicit a personal intuition from their presence. ... Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. The city becomes a ghost town that the filmmaker transforms into a vehicle reflecting his personal mood.

From Angry Bible Thumpers to Infamous Hall H Lines, This is an Appropriated Video Essay Covering the Negative Changes that San Diego Comic Con Has Gone Through This Passed Decade Alone.

Architectural distortions of the second city.

This is a surrealistic documentary with a strong format which is based on the point of view of author. Tan can't fall in sleep in the night, is that because too noisy in the world, or it's just her thoughts bothering herself? It seems life itself it's a mixture with the reality and the dreams.

"Now Eat My Script is a precipice, a fluid solution in which some spectral noises of the self float adrift. Narration takes the role of a pregnant writer who continuously affirms her hunger and clumsiness towards language and history. Her body is crossed over by both the years to come and the stories that have been buried. As a would-be pirate, she navigates through the tumult of familiar waters."

This Petersburg you will not see on the covers of glossy magazines and advertising brochures. This city is ghosted and brutal, and it is inhabited by very different, often very gloomy people.

The long flights of spacecraft have been in the past, as well as the chronicle of accomplishments. Snatches of memory bring to us the fragments of those memories that are confused and do not leave a coherent and consistent trace. All in the past. But was it really ?!

A 16mm experimental short film loosely following a cormorant as it attempts to dry its wings.

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.