A felicitous and at the same time almost unbearable cinematic experimental set-up that uses documentary means to show what the Belarusian reality behind the news items looks like. Based on eyewitness accounts, Pavel Mozhar re-stages Lukashenko’s perfidious and oppression-based power system. Violence in the shape of detailed reconstructions may seem abstract at first glance but drills itself into our consciousness all the more persistently in the course of the film.
A felicitous and at the same time almost unbearable cinematic experimental set-up that uses documentary means to show what the Belarusian reality behind the news items looks like. Based on eyewitness accounts, Pavel Mozhar re-stages Lukashenko’s perfidious and oppression-based power system. Violence in the shape of detailed reconstructions may seem abstract at first glance but drills itself into our consciousness all the more persistently in the course of the film.
2021-10-25
7
A traumatic event – a sudden suicide attempt – opens a gap in the everyday life of a family of three. Their lives change fundamentally, as if they've been pulled into a war invisible to everyone else. The plot is limited to the most acute, a short period of time and a situation that boils down to the most important thing – to save a loved one. The film was based on the personal experience of the director, who also plays the leading role.
Return is a methodical construction of the approach of an individual towards an unseen goal, which assumes metaphorical significance. Viola moves toward the camera/viewer, pausing every few steps to ring a bell, at which point he is momentarily thrust back to his starting place, and then advanced again. Finally reaching his destination, he is taken through all of the previous stages in a single instant and returned to the source of his journey.
In an Iranian juvenile detention center, a group of adolescent girls serve their sentence for the grave crime of murdering their father, their husband or another male family member.
Co-founder of Canyon Cinema and the San Francisco Cinematheque and one of the godparents of experimental film, Bruce Baillie (1931-2020) has forged a singular path in his visionary explorations of the world, his exquisite treatment of light and fragmented storytelling influencing successive generations of like-minded filmmakers. Shot on a cross-country journey during 1964 and 1965, is the Baillie film most in need of rediscovery. Joining the ranks of Bob Dylan, Robert Frank and Jack Kerouac in chronicling a tumultuous period in American history from the road, Baillie sets out "to show how in the conquest of our environment in the New World, Americans have isolated themselves from nature and from one another."
Featuring stirring imagery cycling through abstraction and quivering permanence, Onohana’s (Ouch, Chou Chou and such a good place to die, JC 2016) characteristically stunning animation was produced in collaboration with visitors to her past exhibitions in Shinjuku, Tokyo and Morioka, Tohoku, tracing her original illustrations. -JAPAN CUTS: Festival of New Japanese Film
Rejected by her friends, harassed by the police, and dismissed by the medical profession, a determined Mia forces herself to attend a residential alternative therapy training, led by Franklin Spitz, a British celebrity therapist who specialises in resolving the causes of PTSD. Using increasingly provocative psychological techniques, he probes Mia for the hidden memories underlying her condition. But the goals of therapist and client are widely divergent - Mia is searching for reality and Franklin is desperately trying to avoid it.
A documentary that captures celebrity in the making and the unsettling effects of fame on five friends who share a house in Hollywood.
Tsuchiya, who lives with his single mother in Osaka, does not get serious work once he graduates from high school, but rather devotes himself to mailing jokes to the “Ohgiri” variety show. Seeking to be recognized as a show “Legend,” he devotes his entire life to laughter, setting himself the task of submitting hundreds of entries per day. At loose ends, he encounters a drifter, Pink, who finds him work at his bar while Tsuchiya now devotes himself to becoming a “postcard craftsman” who submits material to a radio program. The entertainers on the program begin to use material from his postcards. A comedian Tsuchiya admires, one of a comic duo called “Bacon,” says on the air that he admires Tsuchiya’s material and that he wants “to do material together.” Dreaming of another chance, Tsuchiya heads for Tokyo.
Walter and his 12-year-old son Henry are a pair of New York City street musicians living at poverty level in an empty Brooklyn lot. When Walter has a nervous breakdown, it's up to Henry to find his father's long-lost family, including the grandfather and aunt he's never met.
On the run after a bank robbery, a group of mobster pandas question their own partners in crime as greed and resentment settle in.
Kate has been in a witness protection program for years because she testified against her own criminal husband Ted Kinnock, putting him behind bars. She lives with her now grown-up son Channing in the county of Cornwall in England. Her son falls in love with young Rachel, the daughter of an aristocratic family. Her parents immediately disapprove of the relationship, as they do not consider Channing worthy of their daughter. When Channing accidentally calls an old contact of his mother's called Dave, events come to a head: Dave was Kate's contact at the police station, but they both fell in love with each other. The policeman now rushes to the island to protect the love of his life, because Ted Kinnock has been released from prison early and is out for revenge.
While watching B grade movies a brain-injured man is tormented by visions of his friends being murdered by a faceless killer. He becomes increasingly disturbed when he realizes it's only a matter of time before the killer comes for him.
A woman goes to her safe place, the movies. She reflects on the ritual of understanding humanity in the darkness only to complete the unspoken agreement between the movies and the audience.
It's All Saints' Day. Bérénice criss-crosses the city. Flowers must be found for the grave. Her son Sacha has other projects. Too bad. Flowers must be found for the grave.
A single man has worked most of his life in a supermarket. One night, he unexpectedly meets with his father, and the two are faced with the question of the reasons for their separation.