In the Bathtub of the World

A sitting man listens to his thoughts, but can't catch any of them.

Somewhere between a diary and a filmed letter made while Caroline Champetier was shooting Benoît Jacquot's film L'Intouchable in India.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

A short documentary project that attempts to encapsulate what it looks and feels like to be an American Teenager in 2022.

In 2022, when the economic crisis in her native country was at its peak, she decided to visit her family there. She turned her short trip into a collage-like diary in which she reflects on her relationship with her homeland, which is in a state of protracted decay. The film is composed of spontaneous snapshots capturing the author's stay, interspersed with inserted captions serving as personal, often poetically formulated comments and observations. As a result, the film does not hide its strongly subjective perspective, but at the same time builds on it to make an important statement that shows the transformation of Lebanese society in everyday details such as the appearance of the city itself or in the intimate sphere of the author's family life.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.

An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.

Filmmaker Jon Beaton has always felt like an outsider. When TikTok’s powerful algorithm starts sending him content from the app’s autistic community, he has an epiphany – could this explain everything? My Diagnosis explores the tension between self-diagnosis and institutional validation through an intimate blend of personal vlogs and fictionalised recreations.

A letter of love to my past self who discovered himself.

An experimental coming-of-age odyssey through someone's troubled mind, going from country to country, landscape to landscape, growing up in the process. A documentary, travelogue, vlog, dream and self-portrait. A reflection on life, death and history.

Raphael, Yervant Gianikian's father, survived the Armenian genocide in 1915 in Eastern Turkey. In April 1988, while living in Venice, he sat for his son's camera and read an excerpt from his memoirs, translated from Armenian into Italian.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.

For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.

Drawn from footage shot between 1949 and 1963, Jonas Mekas’s autobiographical diary film chronicles his early years in exile, capturing the struggle to build a new life in New York and his gradual discovery of a vibrant artistic community.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.

The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.