No Time for Ugliness

A tribute to the late Pat Schulz, an influential Canadian feminist.

Short for his website, kickthemachine.

An insight into the creative process of photographer Brigitte Lacombe, exploring her obsession with taking pictures and how her lens defines her relationship with her subjects and the world.

Having Cuba as a background, decadent and in crisis, in a black-and-white lacerated by the Caraibic swinging rain, Alex and Edith, a couple in their 30s, live their love story made of small daily gestures, stories from the past, nostalgia, and a deep intimacy.

Find Fix Finish delves into the stories of three US-Drone pilots revealing the clandestine operational strategies practiced by the US Government.

Greek internal migrants in Athens, after the Greek Civil War colonize the tops of the Tourkovounia hills.

The history of the ancient neighborhood of Colonus in Athens, by a novelist and script writer who lives in modern-day Kolonos.

Eleven major film makers from Europe, America and Asia talk about Akira Kurosawa and discover surprising influences on their own work.

An experimental short where a character sends a series of progressively desperate emails asking for a job.

An experimental study of nature through three stories and how we have destroyed it.

A short film on Chris Marker

Director James Nguyen will release his short documentary film, CLIMATE FIX which suggests how carbon removal technology can be used to fix climate change-global warming.

This black-and-white archival film outlines the importance of Canada's forests in the national war effort during the Second World War.

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.

A hotel room and a few sweets, their wrappers stacked like gold leaf... An interview with Chantal Akerman and ongoing coverage of the 2015 terrorist attacks in Paris, and what emerges is a genuine tragedy, as simple as Racine's.

Toronto is regarded as the third largest jazz centre in North America. This film features a cross-section of jazz bands of that city: the Lenny Breau Trio, the Don Thompson Quintet and the Alf Jones Quartet. Their styles show creative self-expression, hard work, and improvisation.

Society has created a stereotype of the LGTBQ collective in which its members are young people who are fashionable, who have money, who have a lot of fun and who never pass the age of forty. But where are the older ones? When they reach that age, do they evaporate? This documentary makes visible a little-discussed topic: old age.

A 10-minute portrait of modernist poet and de Andrade’s godfather, Manuel Bandeira, is clear in its affection for it subject, though like many New-Waveish films of the time, depicts the modern urban landscape as an ominous and alienating force.

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.

In 1967, de Andrade was invited by the Italian company Olivetti to produce a documentary on the new Brazilian capital city of Brasília. Constructed during the latter half of the 1950s and founded in 1960, the city was part of an effort to populate Brazil’s vast interior region and was to be the embodiment of democratic urban planning, free from the class divisions and inequalities that characterize so many metropolises. Unsurprisingly, Brasília, Contradições de uma Cidade Nova (Brasília, Contradictions of a New City, 1968) revealed Brasília to be utopic only for the wealthy, replicating the same social problems present in every Brazilian city. (Senses of Cinema)