All Films

A short film on Brazilian filmmaker Carlos Reichenbach and his works, including interviews with those who worked with him and with the man himself.

Filmed in 2005 by Hisham Mayet predominately at the Jemaa Al Fna in Marrakesh Morocco, 'Musical Brotherhoods of the Trans-Saharan Highway' captures an assortment of spectacular musical dramas presented live and unfiltered on the home turf of the world's most dynamic string and drum specialists performing and manifesting the ecstatic truth. Ancient mystical brotherhoods have been flourishing for centuries in and around the cities of Marrakesh and Essaouira in Morocco where the trade caravans have gathered from their long journeys across the Trans-Saharan Highway. This is some of the last great street music on Earth. A must see for string aficionados looking for inspiration as electric ouds, banjos, mandolins and the Gnawa sentir peel flesh from bone right before your eyes!

Follows the stories of three young children who preach the word of the Lord.

A documentary about Yoshishige (Kijû) Yoshida's creative process for his most significant film, the 1969 avantgarde tour-de-force Eros + Massacre (1969).

Ashu is leaving his boyhood behind and growing up into a man. His mother is dying. A boy at school torments him. He is attracted to his neighbour’s wife. He must reinvent himself.

In a middle of a war, three women fight for a normal life, but can never seem to agree on the actual meaning of normal. "The other war" tells the tale of Tel-Aviv during the second Lebanon war. It's a film about Israel, Militarism and denial, but mainly about love.

A House Wife's hum-drum world dissolves away into a thorny Passion Play of miraculous visions.

Things "go bump in broad daylight" as archetypical characters romp about in a sunny forest...doll like things and beast men.

Artists, collaborators, and historians past and present reflect on the making of one of Walt Disney's masterpieces, and how no animated film has been able to top this perfectionist art style since.

Two-thirds of K (Exil) consists of images of the women and children who remain at home, alone, while the men leave for a life of exile. These images, always fragmentary (either cut-up or inserted piece by piece within the image as a whole), alternating between negative and positive, complementing or contradicting each other - give an insight into the wrenching separation experienced by those members of the population who remain at home, left to their fate in an inhospitable landscape. Over what we call the 'joints', we will engrave words in French or Kabyle (Berber), echoing the masculine voices of Rachid Adel and Michel Amarger. An original composition by Mr. Djamel Tareb will form the musical sound-track for the film.

Filmed in Baja California where the desert sun meets the Pacific Ocean and the Gulf. A rusting shipwreck on the rocks outside of Cabo San Lucas in 1972 provides a central and poignant metaphor for a macro-psychedelic and micro-expressionistic exploration of tropical colors and surfy forms. At the time many innovative and experimental in-camera techniques were used to create a dazzling and mysterious vocabulary of painter’s eye multi-plane cinema. Extensive abstract expressionist hand painting can also be seen in this final version. Meanwhile the shipwreck "Inari Maru" has disintegrated and disappeared back into the sea.

In China, culture and the arts are very closely linked to people and their lives. The street life in Beijing is a 24-hour live show full of music, dance and sports. Over a period of month residence time (September 2007), I was observing Chinese life, collecting road images, documenting quotidian performances. I saw a city that's literally exploding, in early transition from the ancient to the modern, preparing for hosting the 2008 Olympics.

This atmospheric landscape is largely un-peopled but nevertheless expresses the busy presence of ghosts that reside in the snowy fog-bound woods, the movement of the moon and in the hesitancy of the clouds. It is an exploration of location/place both macro and micro, visited by a few incidental shadowy figures related to one another through the rhythm of their gestures.

Today PLATFORM is a series of thirteen films, shot in specific neighborhoods of cities chosen for their modernity and architectural complexity. However, the architecture is not filmed for its own sake, it plays the role of background. These locations are also crossroads of different lanes of communication, therefore ebbs and flows are important and almost contextual. A multitude of micro-events are recorded in one sole shot. The simultaneity of these very ordinary events (a car passes, then a train…) is also what makes for audio and visual richness. The choice of the organization of scenes and mixing of the soundtrack come to defy the documentary objectivity of the fixed shots that constitute the film. The use of editing process from classic fictional cinema allow the interweaving of inframince connections between the shots. Attention is therefore focused on a succession of details which become essential.

[16:00 | Super 16mm – HD | Colour | Stereo | 2008] An inventory of lost memories and places, the sun-bleached landscape of Saskatchewan serves as a metaphor for displacement, a framing of emptiness and absence. Traveling to forgotten towns and channeled through old family photographs the camera catalogs the haunting remnants of the past, frail monuments and communities laid bare, broken under economic collapse. Under the weight of the prairie skies a visceral, personal encounter is revealed in the solace of open space.

Verso — turning to things and landscapes, reading them. A movement along things, as if tracing written lines, in order to understand or to grasp, take up, collect them—keeping them around, sustained in memory. There, they continue to rearrange and refocus into sharp or nearly sharp images. These slip and shift, allowing room for a new direction. All the gaze can hold is the single motif from a movement that continues onward. It is my father who stands up. He wants to see. This impulse draws multiple lines—in getting up, in crossing a field of stones, then in the descent of a memory, in slipping and piecing together.

A documentary on the life and career of Disney artist Eyvind Earle.

An unfinished canvas apparently painted by Antonio López resists (does it?) the charges of weather and nature during a whole week. This week is shown four times from four different audiovisual perspectives which try to analyze the relationship between film author and landscape representation.

To catch your prey you have to become the prey.

After 35 years of playing, one of New Zealand’s most accomplished Blues troubadours had still never recorded an album. Some of Dave Murphy’s friends decided that had to change. This film documents the creation of his first long playing record.

You will discover a mysterious world where monuments of the great civilizations of the past intertwined with the corners of unspoiled nature, you will conquer the highest peaks and fantastic caves, you will dive into the refreshing coolness of emerald lakes and living fairy tale medieval east. The roar of wind and the murmur of flowing mountain streams complement the playing of the Kyrgyz music, taking you in the wonderful world - Kyrgyzstan. Travel Documentary hosted by Vitaliy Podstrechniy and Yulia Podstrechnaya

When King's X released their landmark sophomore album, "Gretchen Goes to Nebraska" in the summer of 1989, they were poised to conquer the world. It was universally hailed as an instant classic among fans, peers, and critics alike. The album was perched high atop reader and critic polls as one of the most significant albums of the year in the U.K., Germany, and the Netherlands, the region that also voted "Gretchen" as one of the best albums of the entire decade. Additionally, the album placed on America's "Billboard" charts. "Gretchen Goes to London" documents the historic show at the famed Astoria Theatre in 1990. With never-before-seen footage, "Live at the Astoria" presents King's X at the top of their game, exuding an energy that surpasses the studio recordings.

Light painting and nature imagery are captured in 13 shots of different points of luminescence, on the 13th anniversary of Schwartz’s mother’s passing, and as a homage to Rainer Werner Fassbinder’s personal 'In a Year with Thirteen Moons' (1978).