Passing

Anônimo e incomum

During WWII, the Japanese army developed experimental balloons able to cross the Pacific Ocean and reach the West Coast of North America in 3-6 days. Armed with explosives, they were given the code name fu-go, or fusen bakudan (“fire balloons,” or balloon bombs) in an attempt to instill a culture of fear like that caused by the far more deadly American firebombing of Japanese cities. The U.S. responded by enacting a censorship campaign, requesting newspapers avoid reports of fu-go landings or sightings. Living near the remains of a fu-go launch site in Fukushima Prefecture, Takeuchi mimics their flight take-off using a drone camera, and, traveling to North America, follows their arrival across the shoreline and rural landscapes, using a bat’s echolocation as narrative device to place fu-go and Fukushima as echos across history.

A black-and-white visual meditation of wilderness and the elements. Wildlife filmmaker Richard Sidey returns to the triptych format for a cinematic experience like no other.

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

A deconstruction of Dog Star Man that takes the four rolls and shows them first combined, then each combination of three rolls, then each combination of two rolls, then each individual roll. The plot is of a man who goes up a mountain with a dog to chop down a tree but has some unspecified transcendental experience while he is there.

A young man recalls different moments of his life, reflecting the preservation of memory, the enigma of time and the inevitability of death

Fragments 83 rediscovers—and repurposes—Richard Millen 1983 experimental film If You Can’t Be with the One You Love, shot in Brooklyn and the West Village in the early days of the AIDS epidemic. The resulting documentary explores the hunt for sex/love, the joy of making cinema, and the inexorable passage of time.

On the liner notes to Freak Out!, the 1967 debut album by Zappa's original band the Mothers of Invention, Zappa listed some seventy-two names on the liner notes and cited them as influences. The Freak Out List intends to explore who these artists are and what influence they had on Zappa's music. This listing encompasses all sorts of music, from classical composer Edgar Varese to R&B star Johnny "Guitar" Watson to jazzman Eric Dolphy to flamenco guitarist Sabicas. You can hear for instance, how the esoteric classical influence of Varese shaped Zappa's long-form epics like "Lumpy Gravy" or how Dolphy's instrumental prowess led Zappa to incorporate jazz-fusion on albums like Weasels Ripped My Flesh! (1970), which even included a song titled "The Eric Dolphy Memorial Barbecue." Interviews with various Zappa biographers and music historians as well as musicians George Duke, Ian Underwood, and Don Preston, all of whom played in the Mothers at one time or another, help add additional context.

Film ist. 1-6 is an avant-garde collage from Gustav Deutsch, using found footage from various scientific films to explore the properties, impact and nature of film.

Fifteen imaginative stable images in black, sepia, and white light. Serene and yet stimulating in spirit.

Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.

If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?

The first collaboration between Matthew Barney & Elizabeth Peyton, Blood of Two is a unique, site-specific work that draws its references from Hydra itself – the surrounding environment, animals, humans, and local traditions are all part of the project in equal measure. Blood of Two centers on the former function of the Slaughterhouse and the customs of Hydra to establish connections between paganism and religion, ancient and modern, the ritualistic and familiar. As much as its conflicted terms strive for balance and fusion, it is Blood of Two’s greater resistance to these impulses, its failure to surrender unconditionally to them that ultimately counts, as a network of overlaps and crisscrosses.

Pierre Clémenti's Soleil presents a psychedelic meditation on his life and his detention in an Italian Prison in 1972.

An experimental short film by John Whitney Sr. which combines animated shapes and colors; Computer graphics as dynamic, swirling art. Preserved by the Academy Film Archive in 2014.

Experimental, cinematic symphony of Granada, José Val del Omar's birthplace.

This is a mix of documentary and fiction. Making of the project carried out by the producer ALVOROÇO FILMES with the support of the MUNICIPAL MUNICIPAL DE ALVORADA and SMED.

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 history and art of ikebana, a centuries old Japanese art of flower arrangement and a look inside the Sogetsu School of Ikebana, where the director's father Sofu Teshigahara worked as the grand master of the school.

a collection of different shots comprised a fictionalized, but highly detailed of the america's west. where civilization meets nature in an illusion of history.