Tríptico elemental de España

"Birth is not a beginning and death is not an ending. They are merely points on a continuum." - Elisabeth Kübler-Ross

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

Then, now, where? how?

Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.

Hercules travels by bicycle from Krefeld on the Lower Rhine to Olympus, the throne of ancient deities. The Hercules myth, as a primal myth of male power, is questioned through biographical reflections and the staging of mythological echoes. The dramaturgical structure of the hero's journey disintegrates in a multi-material perspective into questions about male identity, ideals and remorse.

In 1999, 11-year-old Nisha Platzer lost her older brother, Josh, to suicide. Twenty years later, her search for a specialized medical treatment leads her to the door of someone who was once exceptionally close to Josh. And so it is that she finally has the chance to truly know her brother through his chosen family. Captured over five years in which synchronicities continually manifested, Platzer’s documentation of these encounters gently asserts that both grieving and healing are meant to be communal experiences.

Recuerdos de Extremadura is a film essay about memory and the act of filming, where reality and fiction mingle in a sea of memories. In 2018, the director attempted to shoot his first film, The Third Woman, in Cáceres, with his friend Amanda Toro as the main character. However, the project remained unfinished. Years later, this experimental medium-length film returns to those images, confronting the filmed material with the distance of the present. What emerges is a reflection on cinema and memories, on cinema as trace and absence.

A documentary featuring 30 Argentinian women aged between 4 and 80, sharing their stories of resilience, strength, and unique perspectives on womanhood through performance art.

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.

People-watching across lower Manhattan.

Made in Japan, Last Room is both fiction and documentary. The occupants of the love-hotels and capsule-hotels tell their own intimate, dreamlike stories, interspersed with journeys through the archipelago's landscapes. Soon, these personal stories resonate with a collective history: that of Gunkanjima, the abandoned ghost island of Nagasaki, and then that of Japan as a whole.

This free-form film is a self-portrait, which revisits more than 40 years of the author’s filmography and questions the major stations of his life, while capturing the political tremors of the time.

Five inmates recite poetry while time keeps passing by.

An experimental coming-of-age odyssey through someone's troubled mind, going from country to country, landscape to landscape, growing up in the process. A documentary, travelogue, vlog, dream and self-portrait. A reflection on life, death and history.

A woman, an artist and dancer, sets out to reclaim her childhood memories shared with her late grandmother—a bond forged through their mutual passion for painting. Through the delicate recovery of her grandmother’s floral works, she engages in a silent dialogue with the gestures of an ancient practice. She conjures a fictional exchange, a spellbinding journey between dimensions. This intimate quest transcends disciplines, seeking intergenerational connection and answers.

Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.

In the heart of Saint-Malo, there's a gigantic area, covering 1/3 of the city, off-limits to the public. It's a part of the commercial port that's mainly accessible via an architecturally unusual footbridge that limits access. An inaccessible place that will be the first to disappear beneath the waves in a few years' time. Only strange sounds reach us from afar: whirring, construction noise, sirens wailing... This parallel world is bustling day and night. But it's in the depths of the night that unfamiliar sounds and lights arouse the most fantasies.