Katydid

"Pantheon" is about the transition period of cinema from negative to digital, the film tries to deal with the emergence and change of different careers in cinema by linking different cinema jobs with ancient Greek myths. This film is a product of Iran's National Cinema School and was shown for the first time in 2018 in an international specialized seminar called "Cinema in the Digital Age". With a poetic and mythological expression, the film Pantheon tries to examine cinema as a dynamic art that never dies.

A visual barrage of nature, colors, and scenery combining into a montage that overwhelms the senses, playing with Wesendock Lieder's Richard Wagner piece.

One man defends his sand castle from the dangers of a public beach.

Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."

Lucas needs to get back to New York City with his sister Charlotte. They have vividly memories about their good times together, but he needs to be honest with himself and acknowledge the outcomes of his actions.

A seventeen year old girl who has lived all her life on an island off the coast of Ireland is faced with the choice to remain there or emigrate to America.

In these sexy, fun and darkly entertaining boys shorts, we see the hilarious terrors of gay childhood, an Internet hook-up with unexpected motivation and what happens when you hate musicals. You might wonder if theres hope for a gay Lothario, and sometimes you'll see that when you go home, the end is just the beginning.

Originally broadcast on ABC's True Stories in 1993, Feed Them to the Cannibals tells the story of Sydney's Gay and Lesbian Mardi Gras. It was the first time cameras were allowed at Sleaze Ball and the Mardi Gras Party.

Necropolis

Sebastian and his mates are about to find out how life can change in a split second... Well, only if you let the circumstances take over.

Short documentary about Rome

A mother wants to tell her daughter her opinion via video, but because she is untrained in using the new technology, she returns to the familiar letter form.

Gastón Solnicki combines footage of Notre Dame’s statues presciently removed two days before the cathedral’s near-decimation.

Eight-year-old Jesse lives in a twilight world of sadness and silence, squeezed into a tiny caravan with his grief stricken father. They're in limbo, existing more than living. The child intuitively understands that looking forward is harder than looking back, and that's where life happens. But they are stuck, until an accidental friendship with a V8 driving transsexual unlocks the means for Jesse to liberate his father and himself.

Three "meetings." Two men. A rumbling volcano.

Shot on 16mm and featuring a soundtrack by Toshiya Tsunoda, Luke Fowler's film pays tribute to the French master’s impressionistic approach to light and nature (notably his Mont Sainte-Victoire series) through his own resplendant glimpses of landscapes and people in Southern France.

A location tour of the Rocky filming locations in Philadelphia.

In the dog days of summer, two sisters and their mother move into a concrete tower surrounded by farmland as far as the eye can see. Twelve-year-old Violette innocently concentrates her budding desires on Franklin, while Isa, her older sister, staves off her sadness with short-lived romances.

Structuralist Philipp Fleischmann continues his architectural examinations of exhibition sites, using specially constructed cameras to capture the interior and exterior of his country’s national arts pavillion at the Venice Biennale.

In Zachary Epcar's fragmentary, soap opera-esque film, lounge music, lamps, coffee pods, and other accoutrements of modern life restage a story of domestic dreams and nightmares.