Rouge ! L'Art au pays des soviets

The story of the rape of Nanking, one of the most tragic events in history. In 1937, the invading Japanese army murdered over 200,000 and raped tens of thousands of Chinese. In the midst of this horror, a small group of Western expatriates banded together to save 250,000. Nanking shows the tremendous impact individuals can make on the course of history.

Through interviews and guerilla footage of graffiti writers in action on five continents, the documentary tells the story of graffiti from its origins in prehistoric cave paintings thru its notorious explosion in New York City during the 70’s and 80’s, then follows the flames as they paint the globe.

In 2018 Japan’s NHK television network was given unprecedented access to the Freer Gallery of Art’s collection of works by Katsushika Hokusai so they could film the details of paintings using a state-of-the-art 8K video camera. The resulting documentary is hosted by actor Iura Arata and features commentary from the James Ulak, former curator at the National Museum of Asian Art, and Tim Clark, former curator at the British Museum. The film’s intended premiere in April 2020 was canceled due to the pandemic. We are proud to finally screen it. Explore masterpieces at a never-before-seen level of detail and enjoy new insights into the artist’s genius.

Set during the period of growing influence of the Indian independence movement in the British Raj, the story begins with the arrival in India of a British woman, Miss Adela Quested, who is joining her fiancé, a city magistrate named Ronny Heaslop. She and Ronny's mother, Mrs. Moore, befriend an Indian doctor, Aziz H. Ahmed.

The film is about the life and work of Grigory Ordzhonikidze Konstantinoviche, an important personality in both the Communist Party and the Soviet state. The film includes speeches by his bereaved friends who attended his funeral. In 1937, after the unexpected death of Sergo Ordzhonikidze, Vertov received an urgent order from the government to produce a film about the life of Ordzhonikidze. He was ordered to work together with Yakov Bliohom and the director of the film "Battleship Potemkin" distributed by Goskino (Soviet State Committee for Cinematography).

The Art of Antony Gormley features the documentary Antony Gormley and the 4th Plinth, produced for Sky Arts, which reveals the background to this living monument and explores its origins in the sculptor's beautiful and mysterious art. Works created across more than two decades were filmed in HD for this visually sumptuous and thought-provoking documentary.

Who are we? Psychoanalysis of Ukrainians

On a sleepy summer night in 2004, eyes peer into the world-wide-web: traveling between conspiracy sites, malware, porn, and mp3 databases in an attempt to lose (find) themselves. Passing through blog graveyards, broken hyperlinks, and digital spirits, they begin to realize the Internet is so much more. Lost websites, anon forums, and inexplicable pixels singing to a prepubescent soul. An ode to the 2000s webpage and flash game culture.

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

Challenging all notions of genre, Semi Colin is a living, breathing art installation. Part performance, part art, part social comment, Colin philosophizes on his life's obsessive work as an erotic artist.

H*ART ON dives off the deep end of modern art. A film about the yearning to create, to mould everyday emotions into a meaningful life and, most of all, to live beyond one's death. A struggle that gets to the existential core of each of us. How do you find meaning in everyday fear, love, sex and loneliness?

Bas Jan Ader rides his bike into a canal in Amsterdam.

This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.

In the 60s and thanks to the epistolary exchange, the young filmmaker Manuel Antín and the famous writer Julio Cortázar devised four films. An ocean away, a fruitful collaboration and genuine friendship are born.

In “Samples II”, Alÿs walks around London with a drum stick in his hand, playing the sounds of metal fences beside him.

After the sunset, a man wonders between the edges of the highways gathering edible roadkill animals.

A poetic journey from the darkness of dawn into the brightness of the midday sun in the American South. Filmed over the course of six months on one bus route in Durham, North Carolina, this film is a celebration of light and a meditation on leaving.

Constructing freestone buildings on the cheap, Pouillon made a name for himself at the end of the 1940s in Aix-en-Provence and Marseille, shaking up his peers who only dreamed of towers and concrete bars. In Algiers, until Independence, he built in record time thousands of homes for the poorest, real urban projects inspired by traditional forms. In the Paris region, to build comfortable buildings quickly and well, nestled in the greenery, he becomes a promoter: this too adventurous bet leads him to prison and retains his reputation. Not very explicit about this complex affair, but seduced by a contemporary architecture that combines technical inventiveness and ancient references, Christian Meunier films by multiplying the angles of view. Today's lively atmospheres are interspersed with archive footage, while Pouillon's writings are read off. Moved, his collaborators evoke a demanding and generous man, with an infectious passion.

A bumbling art expert, hired by an insurance company to protect a Rembrandt on loan from the Louvre, schemes to steal it.