Always Aching & Bending Back

Beyond all human restraint lies one's lugubrious layers of paint.

Within a single space, the director treats the sorrows of two people married to each other.

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

Years after the crime, three clueless investigators discuss the disappearance of a young tourist in a small French town.

A poetic essay. An Algerian soldier wanders through Algiers and the countryside, whilst a voiceover of the soldier's mother laments his death.

CREMASTER 5 is a five-act opera (sung in Hungarian) set in late-ninteenth century Budapest. The last film in the series, it represents the moment when the testicles are finally released and sexual differentiation is fully attained. The lamenting tone of the opera suggests that Barney invisions this as a moment of tragedy and loss. The primary character is the Queen of Chain (played by Ursula Andress). Barney, himself, plays three characters who appear in the mind of the Queen: her Diva, Magician, and Giant. The Magician is a stand-in for Harry Houdini, who was born in Budapest in 1874 and appears as a recurring character in the Cremaster cycle.

To break in their new studio, EMPRESS, Castle Atom performs four songs and give us a glimpse behind the scenes of how they record. Songs include: "Years of Blood", "Where Have You Been", "Farewell My", and a previously-unheard track, "Hey-E".

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

August 2019. Frank recognizes his own story of twenty years ago in a recently published book. He remembers Marie, with whom he had a relationship before she moved to the United States and disappeared from his life. Frank sets out in search of her and finds himself in a USA petrified by a heat wave and lost in suspicion and political paranoia. He heads into the desert in pursuit of Marie.

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Hiding inside&out, writhing about, taken out&in.

Beneath towering Brutalist architecture, a man is driven to do what must be done.

This cacophony runs over me, over everything I see, everything I want to see: it's me.

Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.

Rather pointless, rather stilted, fetid; not what we want us going after.

Don't ask me why, but I feel we're about to cry trying.

Say Om as you reach home only to realize you never really left/stopped saying Om.

It's time the times met each other over & over.

A short film recounting the travels of a lonely astronaut confronted by the unknown. Unfolding as a mystery, it becomes a carefully subtle, autobiographical examination of the feeling of loneliness and the existential issue of not understanding life on earth and ones place among it.