Tríptico elemental de España

Laser’s hallucinatory investigative report explores Paris’s Pitié-Salpêtrière Hospital, widely considered the birthplace of modern psychology and neurology. Interviews with doctors, historians, clergy, and dance therapists reveal uncanny connections between the emergence of “hysteria” in 19th-century Paris and recent outbreaks of so-called TikTok tics.

Metamorfosi is a veritable dance ballet on the rocks, performed by a great climber, Patrick Berhault, set on the picturesque French Riviera and the Lingurian coast. Berhault's movements, in the sea, in caves, on rocks and precipices, are extremely difficult but are above all executed to give the movement an aesthetic value. Matemorfosi is the story of a cycle without words, told with gestures and music. Climber Monica Dalmasso also participates in the film.

A farewell to the amalgamation of memories that a family crossed by the passage of time leaves in Denia.

A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.

A collection of restored prints from the Lumière Brothers.

Anne'ye

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

“The Phantom Fortress” explores the relationship between the Elsau prison and its immediate surroundings. Through poetic and contrasting images, the film questions the presence of anxiety, noise, and stress, while also seeking to understand whether one can truly ignore the presence of a prison when living in its shadow.

An experimental four-part short film that shows the outcomes of life through a vacation trip.

Christmas Eve in rapid camera.

Filmed during summer 2019, Jesus Is King brings Kanye West’s famed Sunday Service to life in the Roden Crater, visionary artist James Turrell’s never-before-seen installation in Arizona’s Painted Desert. This one-of-a-kind experience features songs arranged by West in the gospel tradition along with new music from his forthcoming album.

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

Amid Guanajuato's vibrant streets, an aging filmmaker becomes a modern Don Quixote, joined by a spirited young animator as his loyal Sanchia. Together, they navigate themes of mortality, unfulfilled dreams, and the fragile line between madness and clarity, uncovering the transformative power of light, art, and the landscapes that shape our souls.

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.

A train moves through winter as a superimposed image of the same route in spring gradually emerges. Both moments coexist within a single frame, revealing two seasons happening at once.

In 1999, 11-year-old Nisha Platzer lost her older brother, Josh, to suicide. Twenty years later, her search for a specialized medical treatment leads her to the door of someone who was once exceptionally close to Josh. And so it is that she finally has the chance to truly know her brother through his chosen family. Captured over five years in which synchronicities continually manifested, Platzer’s documentation of these encounters gently asserts that both grieving and healing are meant to be communal experiences.

In 1967, Beulah struck Reynosa. Family survives through images from memory circling the wreck. Rituals of celebration and violence like hurricane, shift between dancing, cyanotypes, blue fire and lost family archive. We have come to see the damage that was done and the treasures that prevail. Thus invent colors that burn the eyelid like 火藥.

In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.