Heart of a Tiger

An autobiographical essay film structured as a letter to the director’s young daughter, "Où en êtes-vous, Bertrand Bonello?" weaves clips from Bonello’s films, excerpts from his scripts, pop songs, and snippets of original footage into a lyrical, reflexive cinematic self-portrait. "Où en êtes-vous?" is a collection initiated by Centre Pompidou, who asked directors to make retrospective and introspective films.

Footage from summer of 2018 that explores the passing of time regarding the little things in life.

A letter of love to my past self who discovered himself.

IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.

Follow Untitled.10 (Tyson Schultz & Levi Sternburg) as they prep for their 4th pop-up art gallery in Sioux Falls, SD.

The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”

An intimate glimpse into 3 years of serene moments, compiling video, polaroids and other things that were lying around when editing.

Oswaldo Guayasamín, one of the most renowned Latin American artists, with more than 600 portraits in his pictorial career, (among which are F. Mitterrand, Carolina de Mónaco, Juan Carlos I, Rigoberta Menchu) paints his self-portrait, while he tells us the foundations of his art.

Experimental self portrait

Filmmaker Jonas Mekas films 160 underground film people over four decades.

Dolls, cunts and daddy issues – a personal portrait about being a woman.

The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.

A glimpse of life through movement and memory, negotiating a narrative through images and sounds both personal and found, private and public, recounting four years of the filmmaker's life, relocating from Iran to the US.

An epic portrait of the New York avant-garde art scene of the 60s.

On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.

Streams of White

As Janelas Me Diziam Que Os Carros Cor De Lembrança Ainda Percorriam as Movimentadas Ruas do Esquecimento

If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.