Mais a soma de seus possíveis: parte 1

From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.

A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.

Esmectatons Original Film - Regret

A short animated feature which Fred Burns created with 2,000 inked, painted, and photographed images.

Playful and rythmic self-portrait shot on Super 8mm and 16mm. Colored directly on the super 8mm.

Short animation produced in a 3D animation course using the MAYA software.

A stranger arrives in Sarajevo and barges into Damir's reclusive world. Little by little she takes over his life. She absorbs his dreams, until finally she threaten his very existence.

This exhibition focuses on Jonas Mekas’ 365 Day Project, a succession of films and videos in calendar form. Every day as of January 1st, 2007 and for an entire year, as indicated in the title, a large public (the artist's friends, as well as unknowns) were invited to view a diary of short films of various lengths (from one to twenty minutes) on the Internet. A movie was posted each day, adding to the previously posted pieces, resulting altogether in nearly thirty-eight hours of moving images.

1981 short film made by Nik Allday, the drummer on Cabaret Voltaire’s critically acclaimed third album ‘Red Mecca’, and features music by Allday and the Cabs’ Stephen Mallinder. The 10 minute abstract film uses raw material of video feedback and some nuclear bomb footage to represent “the cruel chaotic dysfunctional nature of the human condition with all its potential for self destruction”. Allday wanted a soundtrack that complemented the film thematically and approached Mallinder to see if he’d be interested in creating the audio.

From Winnipeg to Paris, from Montreal to the Philippines, the dash between "Filipino-Canadian" becomes a minus.

A film woven around the idea that between early cinema and avant-garde film exists a connection.

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.

"A Motion Selfie" is one-of-a-kind DIY filmmaking: a darkly comic chronicle following a year in the life of a washed-up viral video star and the sexually depraved stalker who becomes obsessed with his work.

A small white box. Everything happens in that little world. A woman's face comes out from the side of the room and roars, birds peck at human flesh, trains run through, and a couple quarrel begins. When the billiard ball penetrates the room, the billiard ball changes into various shapes ... Each room is a world, and what happens there is a microcosm of modern times.

“While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow.“ (Kōbō Abe) Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who's talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator's relationship to the screen.

An Anders Weberg short film. Part of his Peer to Peer Art project.

An Anders Weberg Short Film. Part of his Peer to Peer project

“Let’s think of nature as a big room. Nature is a room you know you’ll have to leave some day, most likely not by choice”. Heather Phillipson’s hallucinatory video put the goat in the goat boat explores endless declinations of nature—natural, naturing, finding a better nature, the nature construction, nature on loan, nature’s lack of nudity...—while revealing humanity’s ambiguous relationship to it.

A very personal interpretation, to say the least, of the passion of the Christ According to St. John.

The strange voice of Yukie guides us through her memories before the end of time. Yukie awakens in the bodies of other women and recognizes herself in different places. William Vega, who premiered his first feature La Sirga at the Cannes Director’s Fortnight, takes material from diverse sources and assembles it to show, with sensual melancholy, the fate of a woman in her transit through the “final days” of a world that, like in Eliot’s poem, ends not with a bang but with a whimper.