Carta al Interior de una botella

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

The film is a study of nature and significance of the hands in cinema. Besides review of movements and actions, which creates an independent story, it reveals interactions and interdependence of cinematic traditions of various authors, countries and periods

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.

A young filmmaker maintains an epistolary conversation with his deceased grandmother while he rediscovers the space they both inhabited for more than a decade.

This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”

Jean-Claude Rousseau's Jeune femme à sa fenêtre lisant une lettre is not only his first medium-length film, but a chance to discover this filmmaker whom Jean-Marie Straub has called, along with Frans Van de Staak and Peter Nestler, the greatest working in Europe. With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. A minimalist and ascetic expression of cinema: a shot that lasts.»

Film historians, and survivors from the nearly 30-year struggle to bring sound to motion pictures take the audience from the early failed attempts by scientists and inventors, to the triumph of the talkies.

A travelogue along the scenic highways of Cape Breton Island—particularily along the Cabot Trail near Keltic Lodge.

A 6-year-old Tibetan boy leaves his family and flees to a refugee camp in northern India.

An experimental film from Jirí Lehovec, mixing the sound process with animated rhythms.

One of Han Ok-hee’s renowned pieces called The Hole uses the flicker, oblique angles, the cross-cutting of reality and fantasy to express inner entrapment and the desire for liberation. Han Ok-hee’s The Hole, The Rope and Untitled not only experimented with cinematic forms of expression, but also played an important role in the protest against forms of expression in experimental films and the artistic protest against the social suppression and censorship in 1970s Korea. (Art Cinema OFFoff)

A documentary from Erkki Karu, one of the earliest pioneers of Finnish cinema: This government-produced propaganda film introduces the nature, sports, military, agriculture and capital of Finland.

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

In the 1968 movement in Paris, Jean-Luc Godard made a 16mm, 3-minute long film, Film-tract No.1968, Le Rouge, in collaboration with French artist Gérard Fromanger. Starting with the shot identifying its title written in red paint on the Le Monde for 31 July 1968, the film shows the process of making Fromanger’s poster image, which is thick red paint flows over a tri-color French flag. —Hye Young Min

On 18th of December 2017, the Filarmonica Teatro Regio Torino, directed by Timothy Brock, presented "The Gold Rush" by Charles Chaplin, with live performance of the soundtrack. But let's go back a few days: this short film takes us in the backstage of the concert!

Most movie fans know that the first filmmakers liked to shoot trains entering stations. This example by Sussex film pioneer George Albert Smith illustrates why. The train's rush towards the audience brings movement and visual drama. The flurry of human activity offers plenty for the audience to engage with - who are these people and where are they going? And the time pressure exerted by the fact that the train must soon depart adds narrative tension - will everyone get on and off in time?

Ich lebe in der Gegenwart - Versuch über Hans Richter