Dim.: How the Film Was Born

Likely in June 1897, a group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

A married man on a business trip checks into a hotel. The hotel manager’s daughter falls for him at first sight. Rejected by the man, she embarks on a journey of revenge...

A man falls in a hole on his walk, he sees another person walking on the same path and makes sure he's not the only one to get injured.

A father fights for decades to bring his daughter's killer to justice in France and Germany before taking extreme measures.

A documentary portrait about the life and times of the infamous hellraiser, who died in May 1999 having starred in more than 100 films.

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Images, voices, and interrupted silences that evoke the intangible losses caused by COVID-19.

An excited Mari Carmen starts her first day at work at the International Sales Office, but not everything will go as she expects. A duck has appeared in the balcony calling everyone’s attention and turning upside down the day that Mari Carmen wanted to have a fresh start.

This bone-chilling minimalistic animation film (made with black, white and red colors only) is voiced by the director herself, the Australian illustrator Anita Lester, whose grand-aunt had lost her entire family in Nazi camps and has then gone mad. Her confused, distorted, extrapolated memories full of despair and horror, of mysterious interiors and someone’s eyes, became the foundation of this impressive conceptual short film.

You have probably heard of the phrase “to think outside the box”? Well, this is a film about such a box and the flat-headed creatures that live inside of it. Life in the Box is boring and miserable. Until one day a new baby boy starts to grow in the middle of the Box! This boy is very different from other flat-headed inhabitants of the Box. He’s happy, lively and curious. As the boy grows bigger and bigger, the flat-headed neighbours are becoming more and more annoyed with him. Until one day when he literally grows over their heads.

A corridor of an apartment is transformed into a claustrophobic and vertiginous vortex that swallows and imprisons you in an infinite fall through a mise en abyme: it’s a pure enclosure inside the image world, it’s the Descent into the Maelstrom.

In the war-torn year of 2016, a young frat-boy encounters a 'grody' clown across a suburban street. What follows is violence so sensational it'll make headlines!

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Excerpt from Dr. Malcom J Backer's Hyperexpiology Companion [revision 2b]: "...the destructive system is self replicating and self propelling . Functioning like a clock . Systematically . Efficiently . Relentlessly . A mindless machine. It will never be enough . The clockmaker eventually loses control . We are dreaming of a new day when a new day isn't coming . "

In this short animation film the triangle achieves the distinction of principal dancer in a geometric ballet. The triangle is shown splitting into some three hundred transformations, dividing and sub-dividing with grace and symmetry to the music of a waltz. The film's artist and animator is René Jodoin, whose credits include Dance Squared and several collaborations with Norman McLaren.

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