Utopía 360°

The title comes from Sergei Yesenin's last poem before comiting suicide. Using Virginia Woolf's last letters as a base, this film is meditation on the power of the word and its undertsanding and the the last moments before saying "goodbye".

The rare short film presents a curious dialogue between filmmaker Julio Bressane and actor Grande Otelo, where, in a mixture of decorated and improvised text, we discover a little manifesto to the Brazilian experimental cinema. Also called "Belair's last film," Chinese Viola reveals the first partnership between photographer Walter Carvalho and Bressane.

The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.

On the Various Nature of Things

A collage of newsreels, trailers, clips and other visionary and unseen fragments of sight and sound regarding the late plastic artist Helio Oititica.

Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.

Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.

Writing late becomes usual, we are always too late. Boris was my alter ego and I was his alter ego. Now that he is no longer here, I can be honest.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.

Restore the classical definition of planet! Bring back planet Pluto! The solar system is twelve!

Nature, gymnastic movements, a cat...

Glen Denny observed: "This film is not ocean, it is panther stalking jungle." Camera flows because it is free to move through space.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

Shot at high noon in New York’s financial district, Wallstreet is much like a vertical tickertape, charting the existence of typical office workers. The film’s elongated shadows suggest these workers’ depersonalized, neuter, nearly uniform lives, which flow by without any solid or stable element that might provide definition.

Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.

An overdressed girl tries her luck in dance events that are for Finnish tourists in a small Estonian health resort town, Pärnu.

A young man in a tram is asking a bit too much from a stranger.

The second entry in Velu Viswanadhan's series of experimental documentaries. This film traces the Ganges river upstream.

"The majority of my 8-mm works were made for the three-minute "Personal Focus" film special put on in Fukuoka. This film is an animation of photographs I had taken on a regular basis as a sort of diary, and was made to have a rough feel to it." - Takashi Ito