Ghosts

In 1944 Lye moved to New York City, initially to direct for the documentary newsreel The March of Time. He settled in the West Village, where he mixed with artists who later became the Abstract Expressionists, encouraged New York’s emerging filmmakers such as Francis Lee, taught with Hans Richter, and assisted Ian Hugo on Bells of Atlantis. Color Cry was based on a development of the “rayogram” or “shadow cast” process, using fabrics as stencils, with the images synchronized to a haunting blues song by Sonny Terry, which Lye imagined to be the anguished cry of a runaway slave. —Harvard Film Archive

Documentary following a community of herders in the Scottish Highlands preparing young reindeer for their first Christmas, including an orphaned reindeer calf who battles against the odds

The Entirety of Her is a poetic and artistic portrayal of womanhood, internal strength and the relationship between a mother and a daughter inspired by Finnish mythology. The stories of Päivätär and Kuutar will intertwine from birth till death symbolizing the strength and unity between women. Sensitive visuals combined with the poem’s powerful message create a video art piece that is a beacon for being enough for yourself.

The life story of Daniel Balimá, a horticulturist with a disability in Burkina Faso.

As a teenager, I used to take a bus, whose ticket had the inscription "To the Flores Cemetery" as the end of its route. At that time, whenever I saw the ticket, I thought of Charles Baudelaire's "The Flowers of Evil" and of imaginary walks the bus would take me on until I reached the Flores Cemetery. Thirty years later, I found one of those tickets in a box, and it makes me think of finitude and the transient. Film made with Floripondio flowers, Hollyhock and Santa Rita petals, blood, cobwebs, insects found after a storm, mushrooms, onions, and hair on 16mm film.

A reportage cross-cutting film about the development of Africa from 1900-1936, using archive footage and film material from earlier African expeditions.

Beyond the romance of the bottle, this documentary takes viewers behind the scenes of a vineyard’s wine production, revealing the labor, patience, and precision hidden beneath each bottle. From the first signs of the growing season to the final moment of bottling, the film follows the pivotal stages that shape a year of work in the vineyard.

Somnambulistic circus Ribera&Velazquez welcomes everyone to the show, where shadows, that escaped the platonic cave, turn the carousel in the foggy catacombs.

Documentary on the village of Viganella, in the Piedmont Alps, and on its mirror that reflects the sunlight on the hamlet, which otherwise would not reach the valley.

A woman experiments with a Dreamachine, hoping to escape trouble. Within the light and dark of the machine, violent emotions awaken.

A film by Paul Clipson.

Symphonic documentary exploring the Miami identity in six movements. It was performed and projected live by the New World Symphony, led by Michael Tilson Thomas on Feb 22, 2018. The film is made up of five separate and synchronized video channels, projected onto the walls of the New World Center concert hall, above a full symphony orchestra.

Celina y Chichi

Living Lines is a series of performances and poetry by artist Stephanie Trujillo documented as a short film, drawing inspiration from her Peruvian ancestry, namely the Nazca Lines – giant, mysterious and ancient earthworks made by pre-colonial and pre-Christian societies in Peru – to create site-specific rituals dedicated to the flora and fauna native to Merseyside.

SILVA NATURA

Ilyes Djadel : en vrai de vrai

Narrated by actor Tim Daly, the show looks at the dilemma of Black Bears living so close Los Angeles. Film features homeowners Brian and Rick who are dealing with Bears swimming in their pool; and features state Fish and Wildlife Officers.

Quatre altitudes bosniaques is an exercise in topographic cinema shot in Bosnia-Herzegovina. The document draws on the geography of the city of Sarajevo, from which the filmmakers construct a visual ethnography fragmented into four levels of elevation.

The union of the Indestructible Objet (1923-1959) by Man Ray and L'Infiltration homogenee for grand piano by Joseph Beuys (1966). Here the intersection of two temporalities is at stake: one punctuated by the pulsations of the metronome, the other marked by the continuous silence of Beuys’ piano.

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of MAGELLAN: AT THE GATES OF DEATH constitute perhaps the most gripping, monumental, and wrenching work ever executed on film...Frampton in 1971 began his filming of cedavers at the Gross Anatomy Lab at the University of Pittsburgh. He returned to the lab four times over the course of the next two years and then spent nine months assembling his 'forbidden imagery' into an extraordinary meditation upon death."–Bruce Jenkins