Dancing not to be dead

An experimental short film about wind and sunlight sweeping across tree leaves.

Pedro is Mallorcan, born to a mother from Burgos and a father from Mallorca. Due to his distant relationship with his father, Pedro doesn't fully master Mallorcan as a language. He turns to the works of Damià Huguet to remember his father, as only his poems can fill the void left by his death. The poet's words transport Pedro to his childhood and his roots, even though many of the words are unknown to him, despite them belonging to his language. This becomes the driving force behind the protagonist's search for his own identity, his origins, what it means to be a man, father-son relationships, collective identity, and "mallorquinness". Pedro constantly questions the emotions stirred by Huguet's poetry, and, most importantly, who he is and where he belongs.

A trip that the author makes to a distant beach trying to find the place where his grandfather made a painting years ago.

In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.

An exploration of memory after death.

Piracema - uma carta de amor ao teatro

Angolan director and screenwriter Pocas Pascoal reminds us that it’s time for a change, proposing through this film a look at colonialism, capitalism, and their impact on global biodiversity. We observe that the destruction of the ecosystem goes back a long way and is already underway through land exploitation, big game hunting, and the exploitation of man by man.

Experimental self portrait

AEOLUS

The Spanish experimental filmmaker José Val de Omar turns three of his short films into a unitary work, full of meaning: Acariño Galaico; Fuego en Castilla; and Aguaespejo Granadino; creating a total journey through the world of the senses.

An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.

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 student's increasingly intimate line of questioning causes his interview with a local horror host to take a vulnerable turn.

An enigmatic glimpse of life through precarious vignettes, propelling a narrative through a nebulous and opaque structure that sutures the filmmaker's home movie footage to archival material—from Hollywood narrative films to political selfie videos. A handmade impression of a time suspended between past and present and the ghosts and places occupying it, contemplating the nature and meaning of vision, memory and image making.

Juan Méndez Bernal leaves his house on the 9th of april of 1936 to fight in the imminent Spanish Civil War. 83 years later, his body is still one of the Grass Dwellers. The only thing that he leaves from those years on the front is a collection of 28 letters in his own writing.

"The Pig and the Society," symbolizes the stark contrast between the excesses of wealth and the plight of those left behind. It invites viewers to reflect on their perceptions and prejudices, challenging them to see beyond the surface and understand the systemic issues perpetuating homelessness.

Documentary-essay short film about a inner/outter trip to the flowery desert in the north of Chile. A student film by Gabriel Lizama AKA Liz Taylor.

Latest installment from the on-going collaboration between filmmaker Paul Clipson & musician Jefre Cantu-Ledesma. Paul's Super8 films, shot entirely in New York City, channel the blissed out states of color drenched psychadellia explored by Brakage as well as lovely black and white still life's that reminisce on Ozu's 'pillow shots' & Chantel Akermans monumental portrait of Pre-Giuliani New York 'Letters Home'. Jefre's music is culled from the same sessions that launched his 2007 release on Students Of Decay 'Shinning Skull Breath', (the two share a track in common). Billowy clouds of distorted guitar expand out into long passages of muffled static and fuzzed out melody.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

A reframing of the classic tale of Narcissus, the director draws on snippets of conversation with a trusted friend to muse on gender and identity. Just as shimmers are difficult to grasp as knowable entities, so does the concept of a gendered self feel unknowable except through reflection. Is it Narcissus that Echo truly longs for, or simply the Knowing he possesses when gazing upon himself?