A photographer is fascinated by the concept of time. He captures self-portraits with a large clock, trying to frame moments. During this journey, he discovers different ambiances and landscapes, gradually facing the mystery of time and trying to touch the enigmatic moments of life.
Photographer
Vasek, 8 years old boy is desperate to find a new "father" for his mother.
A concert film taken from two Rolling Stones concerts during their 1972 North American tour. In 1972, the Stones bring their Exile on Main Street tour to Texas: 15 songs, with five from the "Exile" album. Mick Jagger, Keith Richards, Mick Taylor, Charlie Watts, and Bill Wyman on a small stage with three other musicians. Until the lights come up near the end, we see the Stones against a black background. The camera stays mostly on Jagger, with a few shots of Taylor. Richards is on screen for his duets and for some guitar work on the final two songs. It's music from start to finish: hard rock ("All Down the Line"), the blues ("Love in Vain" and "Midnight Rambler"), a tribute to Chuck Berry ("Bye Bye Johnny"), and no "Satisfaction."
Set in the African savannah, the film follows Kion as he assembles the members of the 'Lion Guard'. Throughout the film, the diverse team of young animals will learn how to utilize each of their unique abilities to solve problems and accomplish tasks to maintain balance within the Circle of Life, while also introducing viewers to the vast array of animals that populate the prodigious African landscape.
Grim desperately needs one more soul to win his work competition, but his last scheduled collection at a rigorous bike race turns his world upside-down. At the finish line, he learns that life is not always about the trophy at the end of the race.
Here Come The Waves: The Hazards of Love Visualized" is an animated collaboration between the band and four filmmakers: Guilherme Marcondes, Julia Pott, Peter Sluszka and Santa Maria. The Los Angeles Times describes it as "a tumbling series of visuals with four distinct aesthetic styles. Peter Sluszka's ultra-slow motion capture of exploding mushrooms and elegantly disseminating seed pods … Julia Pott's line art of wolves and foxes hovering in geometric constellations … Guilherme Marcondes' renderings of skeletons caught among leafless branches and verdant human arms that unfurl like ferns… Santa Maria provides context…with cosmic, computer-generated vistas, cartoons of splintering bones.
A judge flees the pressures of professional and family life for a job as a short-order cook.
A former boxer, who is now a drug runner, is given a chance to come back to the ring.
During the investigation of the Agra treasure case, Holmes and Watson recall another case that Holmes had investigated earlier. The King of Bohemia comes to Holmes under a false name, who behaves somewhat arrogantly at first, and then plaintively asks for help.
After a cabin trip to devil's punchbowl goes tragically wrong, one college student is set on a path to uncover a dark brainwashing conspiracy behind his group of friends.
A comic book loving college coed is transformed into a superhero and attempts to thwart an alien invasion.
The nurse Loni helps the young pediatrician Lennie Sommer to fight against the plans of the head of the clinic, who wants to close the children's ward. She also gets to know the charming pediatrician in private.
The veil is an object that tends to instigate profound and diverse feelings. Its practice and meaning have been greatly abused throughout history. Within the context of the West the question one might ask: "In a free country, why are women choosing to veil?" In a very intimate and meditative mode, three Muslim women reflect around issues of cultural memory, identity, self-censorship, feminism, politics and media. By appreciating the personal and experiential quality of veiling, this documentary is able to articulate critically and reflexively while challenging its popular perception.
Portrait of The Church of the SubGenius in scratch, which means high speed cutting, media manipulation. Contains clips from the Arise, the Church's own film about itself (recrutment video), the SubGenius MTV productions, and TV interviews with sacred scribe Rev. Ivan Stang, intercut with a barrage of weird clips from movies and television.
A new film directed by Ira Cohen and produced by BASTET created from never-before-seen original 16mm outtakes, featuring a new soundtrack composed by Will Swofford with the Expanded Instrument System
A meek office worker finds himself flung into a fantasy world as a naked muscleman. An early version of the Den character, known from the comic magazine Heavy Metal and the movie by the same name.
The Vietnam War during the JFK years and beyond. Made in 1972 in the filmmaker's apartment, without documentary footage of the war, metaphors are created through the animation of images and objects, and through guerrilla skits. By rejecting the authority of traditional documentary footage, the anarchist spirit of individual responsibility is established. This is history from one person's point of view, rather than a definitive proclamation.
An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.
A group of Staten Island radicals lead by ex-philosophy student Marie and her boozy filmmaker boyfriend Nick attempt to kidnap the CEO of the Leo Corporation but instead accidentally capture Daniel, a nutty small time accountant. With Daniel in custody at their commune, several of the radicals attempt to 'revolutionize the bedroom', an endeavor further complicated by a surprise visit from Marie's tough boy ex-lover Junior.
A companion piece to Pelourinho: They Don’t Really Care About Us (NYFF57), King of Sanwi continues Akosua Adoma Owusu’s exploration of Michael Jackson as a global pop icon. Here, Michael’s long affinity with the African continent—from the Jackson 5’s arrival in Senegal in 1974 to Michael’s coronation as an Ivorian king in 1992—is captured in vibrant, fuzzy archival video, made visceral by Owusu’s funky audiovisual collage and richly material direct animation effects.
In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.
A baby, John, who was abandoned in the church with a horse-headed koto on his side. His grandfather was once a Morin Khuur player and died in the atomic bombing of Nagasaki. The brilliantly colored images have an avant-garde charm while hiding the sadness of the war, and will grab the viewer's heart.
Every weekend for six years, Jessica takes a bus from NYC, where she lives and works as a set decorator, to Boston, her hometown, where she cares for her dad, Aloysius, who is 87 and has advanced Alzheimer's disease.
As a lunar eclipse commences, a frantic moon becomes increasingly twitchy as it attempts to hold back the darkness.
This film subverts info-mercials designed to promote well-being and turns them into an anxiety-inducing collage.
The silent film is about a depressive lady of the last century who travels through time to a beach of current times, but ends up coming across a completely polluted environment.
A visually experimental adaptation of the classic Frank Stockton short story.
An experimental docu-fiction short from hours of collected material shot by the director. Different scenes, from drunk parties with friends to shots of the Dutch landscape during a train ride, are cut together to see if a narrative story can be constructed from nothing but randomly shot footage.
Two women – one passive and resigned, the other aggressive and domineering – interact in various locations in New York city. The film explores the dynamic between them before ending with a showdown at the roller-coaster on Coney Island.