Solidão no Fundo da Agulha

The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries. Just Hold Still is comprised of an interconnected series of short works and collaborations that explore the gray area between documentary, narrative, and experimental genres.

A documentary about Shaolin Kung Fu starring Jet Li

A 6-year-old Tibetan boy leaves his family and flees to a refugee camp in northern India.

Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

A patient camera glides over the everyday objects: still lives on the wall, flowers in the vase, a swaying drop light. The sun enters the cosy home where Noëlla sits smoking at her laptop, playing Solitaire. The situation is hopeless. She’s going to lose against the computer once again. All the while her son-in-law, Pierre, is organising everything she needs, pragmatic and friendly: breakfast, the (last) doctor’s visit – and then the transfer.

An experimental film from Jirí Lehovec, mixing the sound process with animated rhythms.

Anônimo e incomum

My mother has died. Her name was Maria. Her children, we, Raúl and Santiago, discover among the objects left by our mother hundreds of photographs from our maternal grandfather, from REGINA -our great-aunt-, from our mother, from our father... And through those photographs, and with the help from an old camera -my grandfather's inheritance-, I, -along several trips to the places where those photographs were taken-, seek to recover and not lose my memory... that of my family. In the end, we will have to think on our memory and on what we have preserved and lost.

While searching for her grandmother, the director comes across the story of three brothers who are torn between the fronts of political ideologies in the Third Reich and divided Germany: "the third brother" is the filmmaker's grandfather, who, in confronting her father, tries to overcome decades of speechlessness and, in the process, to understand where in the past her father's sense of family fell by the wayside.

Fear and fascination arise in Muriel Grey when she remembers the figure of her father, who passed away when she was still very young. Thirty years after his death, Muriel will tell us the story of José Carlos Grey, a Black Holocaust survivor, freedom fighter in the Spanish Civil War and the French Resistance, and one of the only Black men known to have been imprisoned at the Mauthausen concentration camp in Austria.

A 60-minute salute to American International Pictures. Entertainment lawyer Samuel Z. Arkoff founded AIP (then called American Releasing Corporation) on a $3000 loan in 1954 with his partner, James H. Nicholson, a former West Coast exhibitor and distributor. The company made its mark by targeting teenagers with quickly produced films that exploited subjects mainstream films were reluctant to tackle.

The Displaced View traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history, are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative, question documentary as truth.

In 1992 the Universal Exhibition in Seville was held in Spain. Chile participated in this exhibition by displaying in its pavilion an ice floe captured and brought especially by sea from Antarctica. In these true facts is based the fantasy narrated in Dreams of Ice. Filmed between November 1991 and May 1992 on board the ships Galvarino, Aconcagua and Maullín, in a voyage that goes from Antarctica to Spain, in this documentary film in which dreams, myths and facts converge towards a poetic tale turned into a seafaring saga, in the manner of the legends of the seafarers that populate the mythology of the American continent and universal literature.

A remote and wild island on the west coast of Scotland is home to a small group of people that live in deep connection with the land, the sea and the weather. For different reasons, they left their city life to escape their inner demons and to live as eco-friendly and sustainable as possible.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

Hotel rooms are rarely the destination for pilgrimage. In one hotel room, an iconic picture was taken - the portrait of Theodor Herzl, the most renowned zionist leader. Filmmaker Matan Tal visits the room and explores how the connection between Herzl and the room, echos Herzl’s own ideology. Which raises the question: Can people and places be connected forever?

Une certaine histoire du cinéma expérimental français