
A letter to what has gone before. And to what is to come.
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A letter to what has gone before. And to what is to come.
2024-04-05
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0.0In a place forgotten by man, before the primordial forces that bind the universe settled, time stood still. Within maddening dreams, they found order, they found a purpose. They need their King.
0.0A documentary featuring 30 Argentinian women aged between 4 and 80, sharing their stories of resilience, strength, and unique perspectives on womanhood through performance art.
0.0A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.
0.0As people overrun tourist attractions, the inherent beauty crumbles to dust.
Experimental documentary focusing on the design of the buildings of the Technical High School in Eindhoven. Through the visual means of film and the technical possibilities of camera and photography, reality becomes pure abstraction.
0.0Archive footage from 2006 - 2010 of a young girl growing up during the ages of four to eight. Only fragments of what is remembered exists. Words from a transgender man float to the surface as fleeting memories go on.
10.0“Poussières de Juillet”, produced in 1967 by Hachemi El-Chérif, is taken from a poem by Kateb Yacine. "We made a film on the return of the ashes of Emir Abdelkader, to Algeria. It was the opportunity to make a film on the ancestors with M'hamed Issiakhem. He designed glass plates on the basis of my texts. Then we had actors collaborate. It was a film which cost us a total of 300 dinars, proof that we could do work for television without too much money. We won two first international prizes at the Belgrade festival. We left the original of the film with the Egyptians in Alexandria and they lost it. We kept a copy but over time I wonder what happened to it, because there is no not even had a screening, they say it still exists, but I don't know in what state." Kateb Yacine, July 28, 1986, interview with Arlette Casas.
5.1A mosaic-style comedy following the life of a woman as time passes in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family.
0.0A motorist is haunted by a wayfarer he has accidentally wronged.
5.0This is a story about a man who believes that he has two “selves” - external and internal. That is, an organism is a certain conglomerate of cells, each of which is a separate individual. This hybrid creature has a certain common personal “I” that uses the entire organism, and is the organism itself, which has its own will. According to the character, one can communicate with him, which is what he is trying to do. He wants to reach him and comes up with different ways of communication: injecting substances under the skin or intravenously, tattooing texts on the body, swallowing objects. The answer would come in the form of a rash or other physical manifestation that had to be interpreted. As a result, communication is carried out and the second “I” agrees to die.
0.0A 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?
0.0The short film poem KYKLOP is dedicated to a mechanical eye as an autonomous being. Round wheels and targets similar to him seem to arouse the interest of this main character. The atmosphere is thundery, thunderous. It reminds of the cyclopean thunder demons from the "Theogony" of the ancient Greek poet Hesiod. KYKLOP (2023) is another autonomous part of the film cycle by Telemach Wiesinger and Alexander Grebtschenko that began with TURBULENCE (2022) and its pairs of mechanical wings.
5.4Bud Clay races motorcycles in the 250cc Formula II class of road racing. After a race in New Hampshire, he has five days to get to his next race in California. During his road trip, he is haunted by memories of the last time he saw Daisy, his true love.
After so many generational repetitions and beneath so many layers is a territory to be negotiated beyond each person’s skin, inside: the cavity that echoes the intimate and singular identity of everyone. The voice that populate this film bring us to various spaces in Matera, from tourist agglomerations to the town’s internal spaces (grottes, caves, cisterns, lanes, rooms) and the body’s own unassailable space: pleasure and desire for other bodies that no one can cancel.
0.0It's as if the world and the pain are reflected in the pool's water, but I still swim in it to stir up my memories.
0.0Cinema clerks Silva and Felix work the final night before their beloved cinema is demolished by private investors. An empty final screening allows them to reflect on the meaning of cinema in an age wherein art no longer occupies physical space.
0.0In Preparação I (Preparation I) Letícia Parente prepares herself to go out. In front of a bathroom mirror, she places bandages over her mouth and eyes, draws eyes and a mouth over the bandages, fixes her hair, takes her bag and leaves the room. This masquerade becomes a political commentary about the female gaze, voice, modes of interaction, sociality and corporeality in Brazilian society during the 1970s.
10.0A reflection on man's relationship and needs with the earth, with the self and with hope.