Likely in June 1897, a group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
A psycho-sexual thriller about Isabelle, a lonely gallery owner who meets a dangerously seductive performance artist and discovers they have more in common than expected. Will Isabelle allow herself to let Camila in without giving in to her true nature?
In sieben Tagen
Chicago pop-punk act Real Friends' documentary ‘Moving Forward’, about the growth of the band, and what lies ahead of them.
Two men meet for a coffee in a bar. As they talk, one explains to the other that he found 50 euros on the street that same morning. Then the other gives the most unwelcome answer: he has lost them.
A boy waits in the same street every day with his bags packed. What is he waiting for?
When you feel it, get it started / Even if you don’t, just somehow get it started / Whatever it may be, however it may be but / Anyhow let's just get it started.
A lonely wedding photographer falls for a wedding crasher, who disappears under untold circumstances.
Emergence Collapse, the collaborative project of Berlin-based artist and filmmaker Rainer Kohlberger and Viennese electronic music producer Jung An Tagen is nearly beyond description (and perception): An assault on the senses that is at once euphoric and harrowing, at once completely alien and uncannily evocative, their work is perhaps the perfect artistic manifestation of existential angst. Jung An Tagens frighteningly frenetic and earsplitting dissonance is complimented perfectly by Rainer Kohlbergers constantly evolving, neon-tinged visual freak-out. The result is relentless and painfully overwhelming, but like a horror movie, Emergence Collapse demands – and ultimately rewards – your attention.
In Kei Oyama's grim Consultation Room, a medical diagnosis triggers a wave of traumatic fantasies, portrayed in greyish pencil drawings that waver as if left out for too long in the rain.
A young boy becomes interested in the bodies of living things and starts to develop phobias after seeing a dog's corpse. Before long all manner of things begin to appear grotesque to him.
Two ex-lovers cross paths in a college corridor, triggering memories of their shared past.
Concert and documentary celebrating the 1st Anniversary of Moscow’s Zaryadye Hall
She who plays all day long, either being lazy or stealing food, it is impossible to practice well... And then she who seems to be strict, but is, in fact, gentle and pampered. Together, these two live a happy life.
A man, a woman, and some first date nerves - sometimes just being human is embarrassing!
Over two nights, a young Chinese immigrant has sexual encounters with two very different men. Consequently, he has to choose between the one he wants or the who wants him.
Erkki Kurenniemi was arguably one of the first artists to propose or fantasise about a complete cultural surrender to cyber existence, and his entire career, covering such diverse fields as artificial intelligence, music, engineering, film, dance or rhetorics, testifies to this desire to escape the limits of the human body and transgress into a different dimension, bordering on techno-fetishism. In his 1964 short Electronics in the World of Tomorrow, Kurenniemi presents a slideshow of the most aseptic signs of technological imagination: diagrams, chips, machines, cold surfaces. But footage of human warmth also comes up - mostly in black and white, as if to give humans the status of a memory. Originally silent, the film was in this version endowed with a electronic music piece by Kurenneimi himself: a cold, aggressive soundtrack that could be said to present technology as a potentially menacing affair, although this is a reading that the director would certainly refute.
Without a doubt, Willem Dafoe really likes his gappy teeth.
Otto and Lola, two cabaret artists, fill their lives with their passion: acting.