AIPOKAMORHC

Cartas de Arapuca

Os segredos do Campeão

Gucci Mane himself, OJ Da Juiceman and Waka Flocka Flame, covering a period including Gucci manes release from jail, detailing his work on the mixtape circuit and his eventual rise to mainstream success with the members of the Brick Squad Crew.

JuL au Stade de France

A dialogue and home video about belonging, from young people living in modern colonial society.

An investigation about human intervention in nature, from the subjective point of view of the camera, the environment and its transformation are observed.

This is an installation documentary created in 2015. The quiet process of making boxes indoors reflects the author's patience and caution, the narration when the screen is black reflects the author's familiarity and confidence in what he wants to express, and the dodging perspective and trembling picture when facing the crowd outdoors reflect the photographer's cramped and alienated. A lot of things happened after 2015, and the film was re-edited. The current version has almost used the best materials of that year.

In the Year of Hip Hop takes a retrospective look at the Slovenian hip hop/rap music scene. Boris Petkovič explores in great detail the evolution of a music style which, from the very start, has intimately reflected the social situation of its artists. Hip hop has always absorbed the "vibes" of the place where it is taking root, and Slovenia is no exception. According to Petkovič, in today's Slovenia, rap is the one and only form of music that discusses the state of our society and of human relationships without any inhibitions. If rap is not your cup of tea, this film can make you change your mind.

Set beneath a surreal green sky on a distant, crumbling world, the film captures the last survivors of a dying civilization—women who perform a synchronized ritual dance to summon an ethereal extraterrestrial presence from another realm.

What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.

Two children are directed by a cinemaker.

Two instants separated by 99 days conflict with each other.

Standing near the reptile section in a zoo we can learn a lot about the animals on both sides of the separating glass.

A visual compilation of songs from Malcolm McLaren's 1983 album "Duck Rock", including the songs "Buffalo Gals" and "Double Dutch", mixed with interview and documentary footage.

Filmed in Berlin, July 1990. Images of workers taking down the wall and street peddlers selling pieces of it to make a living.

The Eye explores silent landscapes where nature and absence coexist. Between the memory of places and resilience in the face of time, the film oscillates between beauty and existential vertigo, capturing what persists and what fades.

Jonas Mekas recites poems of his, both in English and Lithuanian. Exclusive Mekas interview by the poet Sparrow. The legendary poet-film critic and film diarist waxes philosophical in rare extended setting exhibiting his transcendental poetic humor. Jonas attacks the crass world of TV advertising and sell-out commercial filmmakers. Contributes zen anecdotes and filmmaking advice. Choice clips include Mekas' Film Diaries with deceivingly formalist amateur "home movie" style, but in small bursts of expression in a quick collage. Footage from Jonas' homeland as well as clips of famed pop figures John Lennon, Yoko Ono and Tiny Tim.

A quick view of three remarkable organic gardens: Le Tomple, Le jardin du Mas d’Abri in the department of Gard and Le jardin des Sambucs in the department of Hérault. The film goes over their general layout along pathways amongst the vegetation, ponds and people or animals that happen to be there at the time.

It is a documentary about mostly inner-city birds. It is meant to examine their lives in a more metropolitan context as they become increasingly tangled in our everyday lives.

Jan receives the group patch at the campfire, Herkules brews up some tea in the workshop and Sidney gets a mohawk haircut done by his father. The film shows fragments from an Oberhausen subculture in which symbols and practices of the outlaw motorbiker scene are transferred to cycling.