The Stars Are Beautiful

The short film is a montage of sped up clips of The Ringling Brothers Circus in action set to a musical track. The film is separated into four segments, each segment which focuses on different acts within the circus. The later segments often incorporate clips from earlier segments, mostly as background to the featured acts. The speed of the clips match the tempo of the soundtrack music.

A 1963 timelapse recording shows the effects of air pollution during an entire day on Santa Monica Bay in Los Angeles. A machine interpretation of an unstable version of the original file is divided into slits and rearranged in time, giving rise to a time panorama that mirrors an uncertain, abstract future lying ahead of us.

The diaspora of Filipinos around the globe is driven mostly by the economics of supply and demand. The yearning for something better, stability, and self-validation leads a handful of sojourners from the provinces of the Philippines into the arms of one of its former colonial masters — the USA. But what happens when they finally get what they want? And how? Filmmaker Dennis Empalmado explores the musings of Filipino expatriates and hopeful immigrants in "Naglalakbay" (Travelers).

In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.

Portrait of The Church of the SubGenius in scratch, which means high speed cutting, media manipulation. Contains clips from the Arise, the Church's own film about itself (recrutment video), the SubGenius MTV productions, and TV interviews with sacred scribe Rev. Ivan Stang, intercut with a barrage of weird clips from movies and television.

Part lyrical document, part farce, Animals Under Anaesthesia: Speculations On the Dreamlife of Beasts explores the imaginary unconscious minds of animals. Images of sex, death and the natural world are made manifest in the murky and disquieting dreams of a dog, a cat, a pig and a rabbit.

A postmodern Swiss-Tyrolean ensemble ventures into remote mountainous regions, embracing the sonorous variety of local vernaculars. A poetic road movie with stunning shots and an emphatic approach to a new alpine aesthetics.

Chantal Akerman reads a script detailing the woes that befell her on the day she thought about "The Future of Cinema". The camera continuously rotates 360 degrees around her apartment as she rereads the script at an exponentially increasing speed. At its heart, an homage to Godard.

Two women – one passive and resigned, the other aggressive and domineering – interact in various locations in New York city. The film explores the dynamic between them before ending with a showdown at the roller-coaster on Coney Island.

The Iranian filmmaker Narges Kalhor, daughter of a former advisor of Ahmadinejad's, has been living in exile in Germany for four years. When she hears that the fellow Iranian rapper Shahin Najafi, who is also living in exile in Germany, faces death threats and has to hide because of one of his songs, she doesn't hesitate and has to find him. On her search she encounters fear everywhere. Narges Kalhor has to face her inconvenient memories of suppression, hatred and anger for her past in Iran.

Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity… With the film’s culmination in representational, photographic imagery, one would anticipate a culminating “richness” of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate the work which is necessary to decipher that cinematic image. - Deke Dusinberre

Combines animation, documentary footage, and hand-painted film as well as slide projections, a painted 12" x 24" backdrop, and sculptural palm tree to create a kaleidoscopic portrait of the Puerto Rican psyche.

A compilation of non-narrative films shot in the 1970s and 1980s by Phill Niblock concerned with the movement people make when they do menial tasks.

Lucía and Valeria take out three Tarot cards that reveal the first two dishes of a menu that takes them from Embún, Spain to Llanquihue, Chile; the towns of their grandmothers. Among improvised still lifes, maps and video calls, the friends try to discover the meaning of the third card through a ritual that connects both continents.

Made for Milton Keynes Gallery's 10th anniversary using images from its archive and language from its press releases and catalogues.

Found footage anti-war film comprising film documents of the Austro-Hungarian and Italian army on the Alpine front, and from first generation picture material by war-film pioneer Luca Comerio.

Pelle vegetale. Un'intervista

As the filmmaker pursues a creative career, she goes looking for others in similar positions to explore what her decision entails. Mixing experimental art and documentary film, the work explores the real and imaginary boundaries of creativity.

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”

Embarks on a journey that traces the life and work of Antonio Martorell, a prolific plastic and multi-disciplinary artist in Puerto Rico. This film is a dance between the director (Paloma Suau) and the portraitist while portraying each other. More than a documentary, this film is an experiment of a director trying to reconnect with her creative voice.