Nathaniel Dorsky: An Interview(2014)

Phantasia(xx)

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 Beaches of Agnès(fr)

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

Walking(en)

Tommy sets out to document walking. He meets a colorful cast of characters, attaches microphones to his feet, and contends with what it means to capture movement on film.

Something Walks in the Woods(en)

A viral video shows a mysterious figure walking along the edge of the woods each day, and filmmaker Bill Howard sets out to spend a night there to find out exactly what it is.

Phantom Islands(en)

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Sublapse Video Mag 1(en)

Video Fanzine featuring: Half Japanese, Redd Kross with Sky Saxon as Purple Electricity, R Kern, Sonic Youth, White Flag, Psycho Daisies, Charlie Pickett, Nick Zedd, Morbid Opera More R&R, Film, Prose. Pencil numbering indicates there was a run of 600 tapes.

Godard by Godard(fr)

Godard by Godard is an archival self-portrait of Jean-Luc Godard. It retraces the unique and unheard-of path, made up of sudden detours and dramatic returns, of a filmmaker who never looks back on his past, never makes the same film twice, and tirelessly pursues his research, in a truly inexhaustible diversity of inspiration. Through Godard’s words, his gaze and his work, the film tells the story of a life of cinema; that of a man who will always demand a lot of himself and his art, to the point of merging with it.

They Are Here(en)

Dangling from a high window, a young non-binary person is on the cusp of life and death. Flashes of film, literature, art (paintings) and cultural history pass them by, as if to tell a message. A postmodern treatise on connection to culture and the past.

It's Not Me(fr)

This free-form film is a self-portrait, which revisits more than 40 years of the author’s filmography and questions the major stations of his life, while capturing the political tremors of the time.

Golden Chains(en)

A new exploration of familiar places located in the region of Rhône and Isère throught an reinvention of digital nuances, a study of perceptions and fluidity around the nature of motion in landscapes and human interactions.

Nevermore Eleanor(en)

Nevermore Eleanor (2024) | 2160p

EXOUSIA(en)

A psychological odyssey-like telling of the year 2025, that takes you on a roller coaster full of emotion, excitement and dark adventures documented by Joesiah Garcia.

Hotel Monterey(xx)

New York City's Monterey is a residence hotel, whose inhabitants are older and primarily live alone. The camera, usually stationery, observes the lobby. No score, the lobby is clean with granite floors, men wear hats, people enter and exit an elevator, the camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close.

Fluid Fragments(en)

A roll and a half made to delight in color and the presence of friends. Steps toward learning to read in the dark.

Grid(pt)

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Breakdown: 1975(en)

In 1975, as America faced social and political upheaval, filmmakers turned chaos into art.

NULLE PART(es)

New Life(en)

"Bagong Buhay" is a short experimental film that dispels the common belief that packing up and moving to a new place will magically improve one's quality of life. The film challenges this presumption by portraying two contrasting ways of life through objects and locations, encouraging viewers to think critically about the complexities of what makes a better life. In the Philippines, it's believed that relocating to a new area will bring about positive changes in one's existence. True satisfaction is a complex and multifaceted notion, and "Bagong Buhay" encourages us to ponder that relocating to a new place is not a surefire way to attain it.

good boy(en)

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

Deshilando Luz(es)

A 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?