Uishet

Marital Rape Is Real is a short film adapted from several published essays on marital rape by Shanon Lee.

In Swole I continue to document my commitment to an intensive and transformative gym and diet regimen, as well as the communities that form around such activities, sustaining themselves through texting and sharing videos and photos on social media. I learn the vocabulary of my new community.

A companion piece to Pelourinho: They Don’t Really Care About Us (NYFF57), King of Sanwi continues Akosua Adoma Owusu’s exploration of Michael Jackson as a global pop icon. Here, Michael’s long affinity with the African continent—from the Jackson 5’s arrival in Senegal in 1974 to Michael’s coronation as an Ivorian king in 1992—is captured in vibrant, fuzzy archival video, made visceral by Owusu’s funky audiovisual collage and richly material direct animation effects.

An anthology film told through a spoken word narrative, chronicling the mental states of three filmmakers while under the conditions of the Covid-19 pandemic.

Avant garde/experimental film. A mesmerizing trip through the psychedelic vastness of space.

For a young boy, ordinary facts and things of daily life seem to have great importance.

Scenes from a found roll of martial arts movie footage is unspooled past a video camera on a light table, stopping and starting to pick out parts of the narrative. The archly formal play of fights, betrayal, dishonour and ruined friendships is accompanied by ambient sounds of a city going about its routine business outside.

Photographic and sound story, through the encounter of characters with their stories of a time without end.

Young artist Kyoko wreaks havoc on everyone that she encounters when Japan's oldest major movie studio asks a batch of venerable filmmakers to revive its high-brow soft-core Roman Porno series.

In Razor Blades, Paul SHARITS consciously challenges our eyes, ears and minds to withstand a barrage of high powered and often contradictory stimuli. In a careful juxtaposition and fusion of these elements on different parts of our being, usually occurring simultaneously, we feel at times hypnotised and re-educated by some potent and mysterious force.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

As the filmmaker pursues a creative career, she goes looking for others in similar positions to explore what her decision entails. Mixing experimental art and documentary film, the work explores the real and imaginary boundaries of creativity.

Three kids are trying to stand strong. In a world where you don’t know for what you want to stay strong. Full of sexuality and the need to define their identity. “We are the children with no obligations, the most possibilities, with the most liberated freedom. We are children who build words. Children who give birth to children. We are children of our time, free from guilt.”

With tones of nostalgia and magic, a universe is revealed where personal and imaginary memories seems to become indissociable. VHS glitches distort misty and bright images, leading to a sentimental and mysterious narrative.

A story of diaspora. The film criticises the myth of Swiss neutrality, which violently masks structural, systemic, and social passivity.

This film is composed of three sections created to accompany a piece of music (by Barbara Feldman) on a Homeric poem.

Embarks on a journey that traces the life and work of Antonio Martorell, a prolific plastic and multi-disciplinary artist in Puerto Rico. This film is a dance between the director (Paloma Suau) and the portraitist while portraying each other. More than a documentary, this film is an experiment of a director trying to reconnect with her creative voice.

BARE BONES is an experimental short film written, directed and scored by DEBBY FRIDAY. Conceived during the Covid-19 lockdown and shot in Vancouver, BC on 16mm, the film tells the story of a young woman who swallows a bee and begins to undergo a hallucinatory and transformative experience. Abstract visual sequences depict time and space fracturing around her as she succumbs to wave after wave of pure feeling.

Pelle vegetale. Un'intervista

Grappling with the burden of loss, a drifter becomes engulfed in the reckless lifestyle of a group of bohemians. Through a series of events, he is forced to confront his trauma as his haunted past and unconventional present collide.