All Films

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).

A video portrait of a friend as he shares his favourite karaoke song.

The pupils from the third class of Middle School #2 in Chongqing, the best school in central China, are being honed to fill important positions in the new global economy. The pupils are children of the new Chinese middle class. Often their parents have lived through hunger and their children must now succeed where they did not. The members of China's youngest generation have the eyes of the world pinned upon them. Will these representatives of the "I want-generation" live up to their promise? Is our fear for these smart, hard working children justified?

A woman and a man, both no longer young of age, follow basic routines in their home. Outside at the birdfeeders, birds follow basic routines. As the sun rises and moves across the sky, life passes for all. The film uses a combination of stop motion and time lapse to record. This creates a visual staccato effect, which is also very apparent in the audio track when the two people are talking. Using this technique only small intermittent bits of a conversation are recorded. Much of the talking is omitted leaving newly constructed sentences and meanings.

Thee Hounds of Foggy Notion is the title of the August 25, 2008 live CD/DVD release by San Francisco-based rock band Thee Oh Sees. Recorded during their Sucks Blood era in 2007, the performances include songs from previous albums, as well as others that were unreleased at the time. Some of those that had not appeared on any album were later reworked for 2008's The Master's Bedroom is Worth Spending a Night In, here performed in the more subdued psychedelic folk manner which characterized the band's sound during this period. This album was the final appearance of percussionist Patrick Mullins, who left the band after "Sucks Blood". The live footage on the DVD was filmed over the course of four days in San Francisco.[1] It features the band performing in mostly unconventional locales, such as on the shoulder of a highway and near the beach. The video footage was directed by Brian Lee Hughes.

Lucky Kuswandi is taking us on a personal journey he underwent when Imlek, the Chinese New Year, was declared to be a national holiday. The celebration always takes him back to his childhood, when such festivities were still forbidden. Through his eyes, we see the unique colors with which the people celebrate Imlek, past and present, and the big question he always poses with each Imlek.

Ten years has passed since Wawan were shot to death in Semanggi during the May riot. Ever since, his mother, Mrs. Sumarsih, vowed to continue Wawan's fight for justice. Is she ever going to stop?

As the winning artist of the 2008 Film London Jarman Award, Luke Fowler was commissioned to produce four short films for 3 Minute Wonder, Channel 4s shorts strand. The four films premiered on Channel 4 over four consecutive nights in April 2009. Entitled, Anna, Helen, David and Lester, they are a series of portraits of four diverse individuals brought together through a shared residence – a flat in a Victorian tenement in the West End of Glasgow. Composer: Toshiya Tsunoda

As the winning artist of the 2008 Film London Jarman Award, Luke Fowler was commissioned to produce four short films for 3 Minute Wonder, Channel 4s shorts strand. The four films premiered on Channel 4 over four consecutive nights in April 2009. Entitled, Anna, Helen, David and Lester, they are a series of portraits of four diverse individuals brought together through a shared residence – a flat in a Victorian tenement in the West End of Glasgow. Composer: Lee Patterson

Klara works at the reception of the bathhouse. She has a note in the calendar that she does not remember what it was about.