Composed of two narrative layers. The first layer includes a visit to the cinema (including a projectionist) and a reflection on their perception and experiencing the projection. The second layer is the projected work, ie film in film. This is based on the structure of the myth: at the beginning we see a tree that seems to refer to the tree (life or knowledge) in Eden. This is followed by a correlation of the images of Michelangelo Buonarroti's The Creation of Adam (1512) and other Renaissance works. The following shots from the Nazi concentration camps, ie the presentation of manifestations of human evil, are then an allegory of the fall of a man who was the result of the original sin in paradise.
Composed of two narrative layers. The first layer includes a visit to the cinema (including a projectionist) and a reflection on their perception and experiencing the projection. The second layer is the projected work, ie film in film. This is based on the structure of the myth: at the beginning we see a tree that seems to refer to the tree (life or knowledge) in Eden. This is followed by a correlation of the images of Michelangelo Buonarroti's The Creation of Adam (1512) and other Renaissance works. The following shots from the Nazi concentration camps, ie the presentation of manifestations of human evil, are then an allegory of the fall of a man who was the result of the original sin in paradise.
1987-10-18
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When a beautiful young Grace arrives in the isolated township of Dogville, the small community agrees to hide her from a gang of ruthless gangsters, and, in return, Grace agrees to do odd jobs for the townspeople.
In a godforsaken landscape, filmed in transcendental black and white, as if fallen out of time, young Ada lives alone with her ill mother. Her rather lonely existence is characterized by hard work and poverty and as her mother's condition worsens there doesn't seem to be a way out anymore. Ecce homo is a parable about being human, rich in religious symbolism, which dreamily and at the same time sombrely poses existential questions without volunteering answers.
An ordinary funeral procession moves along its path from church to cemetery. Observing, you slip from reality into a place where time has lost its linearity, looping through the odd images thrown off by a distorted reality. Images of non-existence, of varying reflections of death issuing from both past and future, concrete yet abstract, horrible yet desirable. A family asks a young psychiatrist to be their guest for a while to untangle the circumstances of their father's illness. He's developed a suicidal fixation for ropes and knots among other things. While deeply involved in analyzing the patient's delirium, the doctor begins to lose track of what is taking place. The task of "how to help" is twisted into "who am I? Doctor or patient? Chance guest, member of this suffering family, or a catholic priest who has dreamed this all up?" In order to get a handle on it all, it's best to start from the beginning, but why do things keep shifting, changing?
Born from steel and glass Kino Kopf is created by two inventors. They are assembled by their mother, a nurturing artist, and their Father a greedy entrepreneur. Kino Kopf is the first of its kind a sentient humanoid VHS camera. They are given a life by their mother but presented to the world by their father. Kino Kopf is the next big sensation and spurs a technological revolution. They are soon forgotten and alone as new models surpass them. Kino Kopf is left alone to contemplate if they ever had a soul, as visions of an electric cowboy dance through their dreams.
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
The personification of Death's love for a lonely man is challenged when he falls for a lively woman.
Featuring a cast that includes Sonic Youth's Kim Gordon and Thurston Moore, Mike Watt of the legendary hardcore band Minutemen, and Pettibon himself, this deadpan narrative pays dubious homage to the 1960's radical underground. In this crudely rendered home video of a commune of stoned revolutionaries, the cameras are hand-held, the edits in-camera, and the dialogue is wryly on-target. Pettibon's band of outsiders reenacts a countercultural moment defined by rock music, drugs, and ideological paradox — and in so doing, captures their own late-80's West Coast grunge milieu as well.
A young filmmaker returns to the village where she was born – a hamlet in the north of France – to investigate a strange story about a terrorist threat. She starts with members of her own family, and doesn’t have to go much further. The misunderstanding – as it turns out to be – shows above all how alarmist news items and political machinations in the cities can take on a life of their own, deep in the hinterland.
A foreboding glimpse into the life of a girl under pressure from her parents concerning her eating behavior and childish tastes. Ignoring the family festivities, her parents ditch her for a day, leaving her in the care of a neighbor. The girl will regress to the events that have hurt her. "Rabbits have been a symbol of childhood ever since Lewis Carroll's portray of a certain elusive character, but it is in the interpretation of each psyche that it takes a more perpetual shape. In my analysis of its symbolism, the rabbit expresses a female childhood at an age close to puberty, along with the desire to leave the bonds; perhaps a virginal consciousness that remains in the symbol of rabbits to this very day." Laura Maria Isabel Ruiz Ocadiz.
A vacationing entomologist suffers extreme physical and psychological trauma after being taken captive by the residents of a poor seaside village and made to live with a woman whose life task is shoveling sand for them.
Inhabitants of a small village in Hungary deal with the effects of the fall of Communism. The town's source of revenue, a factory, has closed, and the locals, who include a doctor and three couples, await a cash payment offered in the wake of the shuttering. Irimias, a villager thought to be dead, returns and, unbeknownst to the locals, is a police informant. In a scheme, he persuades the villagers to form a commune with him.
A person receives old entries from their diary, unsure of who is sending them. They eventually arrive at a moment of transcendence.
This meta student film illustrates the trials and tribulations of being a film student.
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
Four friends spend a final summer together tangled in a web of sexual obsession, alienation and magic.
A painter lives with his wife and four children in a studio. Due to creative frustrations and the irritation of admirers and hangers-on he becomes increasingly reclusive, finally sealing himself away in the attic. Based on an Albert Camus story.