Quick Billy

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.

This is the filmic portrait of Daniel Vicinos, one of the most characteristic figures of Argentina's film industry: inventor, technician, collector, ironwork lover, but above all, in love with cinema.

The biggest, most populated, and frantic city in South America. While Cariocas are like tropical birds, Paulistas are like frenetic ants. Distances are longer and they're always in a hurry. A busy journey through this beautiful Brazilian beast which cannot help but beating irregularly.

Film loops with overlapping chromatic density and textures achieved with photochemical development experiments.

Letraset typeset intervention and editing on the projection copy of the film Cuesta Abajo, by Louis J. Gasnier, 1934.

Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.

An experimental journey through a year in the life of the director, using his always playing playlist to cross the boundaries of fiction and documentary. Through scenes of both comedy and tragedy, realistic documentary footage and experimental sequences of the director's environment and daily life we get a sometimes estranging image of a young man and also an intriguing insight in his mindset and how this translates to the imagery on screen.

Drawing on VHS tapes of a programme hosted by her mother on Bulgaria’s national television, the filmmaker gives a pop-style and in-depth chronicle of the gentle – even “over-gentle” – 1989 revolution.

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.

Experimental 8mm film.

Performance with live audio equalization.

Roaming through the traditional Christmas stands of live carp fish on the street of Prague.

The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.

The meeting point between two comunication media: A letter written in 1929 -hidden inside the adobe walls of an old country house - and the shooting of the coutryside along the highway that connects two Chilean cities un 2018.

Rather than writing a simple letter to explain his absence from the press conference for his latest Cannes entry, "Goodbye to Language," at the Cannes Film Festival, instead, legendary filmmaker Jean-Luc Godard created a video "Letter in motion to (Cannes president) Gilles Jacob and (artistic director) Thierry Fremaux." The video intercuts from Godard speaking cryptically about his "path" to key scenes from Godard classics such as "Alphaville" and "King Lear" with Burgess Meredith and Molly Ringwald, and quotes poet Jacques Prevert and philosopher Hannah Arendt.

Los Años is a meditation about time, memory and mortality through our representation in images and our lives' rituals. This short highlights our abstract way of understanding time and collective experiences.

A somber journey on the road. A post with three lights. A crowded street. Stashed cables. The city. A grey square. The sun's reflection. The sun. Going back home.

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

Starting from frame by frame in-camera editing, the film translates a nursery garden from Chillán into a filmic landscape, with a rhythm and structure coming from a personal relationship with color, light and occurrences that took place near the end of the summer at the Olaxis garden. This is the first part of a work which takes reference from Violeta Parra's poetry, created from flowers, plants and certain places of the Ñuble area.

The arrieros hold the lamb's body with their hands. The knife cuts the animal's throat and blood cascades out.