Seasonal movements and bittersweet moods of young adults faced with the realization of mortality, movement and the passing of things.
Seasonal movements and bittersweet moods of young adults faced with the realization of mortality, movement and the passing of things.
1996-01-01
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Daniela (24) is a ghost in pain. Her life ended suddenly and painfully, leaving her friend and roommate, Mónica (22) alone in their shared apartment in Santiago, Chile. Daniela feels her frustration grow within her, as she fears that her time in limbo will never end.
This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.
In Phantom, each face, each body appears, like cinema itself, from beneath a curtain that flutters and flickers to reveal haunted silhouettes that never quite take shape.
In the form of a poetic love letter to its nation, this short film reveals a strong community and the anchoring of the new generation in this rich culture.
Keratin is a collaboration with the London Sinfionetta, visually responding to Gavin Higgins' Seven Welsh Folk Songs: I. Dacw 'Nghariad i. The film tells the journey of a mating of elements, two bodies grieve over a lost third: a child separated from their womb. The three bodies bound by their keratin, regain connection in a wombic journey which spiritually networks the three into a fused collective body.
A drama focused on the friendship between a high-functioning autistic woman and a man who is traumatized after a fatal car accident.
When an Italian man comes out of the closet, it affects both his life and his crazy family.
Polar Life’s novelty was its theatre, with the audience seated on a central rotating turntable in the middle of eleven fixed screens. Viewers have described the intricate juxtaposition of screen images and narration and the complex relationship created between moving spectators and multiple screens. Documentation images and scripts of the bilingual narration by Lise Payette and Patrick Watson show elaborate temporal and spatial representations of the Arctic and Antarctic regions: the Inuit in daily activities in the Canadian North; other northern peoples of Alaska, Lapland, and Siberia; and settlers from the South, scientists, explorers, and other inhabitants of the landscape, including reindeer, bears, and birds. Archival film footage of early northern explorers, combined with newly shot documentary footage, was edited across the various screens to create spatial relationships that are sometimes coherent, sometimes fragmented.
In present-day Bosnia and Herzegovina, economically depressed towns turn themselves into tourist destinations in order to survive—deliberately forming their own cultural narratives. Centering on four different locations, The Stone Speakers interrogates a nation’s contradictory memories. Made with subtlety and tactful distance, director Igor Drljaca’s film reveals the traumatic consequences of being a country that is stuck in a postwar identity crisis.
In a dreamlike journey through the memories that formed him, Sergio's past comes to life before his eyes. With his grandparents' house in ruins as a vehicle of memory, he will question his first 10 years of life and why he considers them his Prelude, the foretaste of what his life and work would become. Among ghosts, he will have to make peace with his memory, his reflection and his name to find the color among the ashes and stop fearing the future.
An abstract ballet set to "I've Never Seen a Smile Like Yours".
Tensions, along with demons from the past, rise as a young farmer, the mashgiach (kosher supervisor) and the local Rabbi try to decide what to do about the mysterious illness infecting the cattle.
SHIFTING VISIONS is a video essay that revolves around the transition between the different stages of human consciousness. From the most intense state of full attention to the most abstract and dreamlike state, passing through all its nuances. We know that the mind remains a mystery to science, but, through combining neuroscientific theory and personal perceptions, we represent these mental dynamics transferred to images, sounds and metaphors. We thoroughly analyse each of these stages to translate concepts and create audiovisual imaginaries through symbolic mental limbos. A piece that drags the viewer on an inner journey to their own lucidity.
An Afghan war veteran looks to live the quiet life as a small-town police officer. That changes when a group of Russian hackers moves to the area, intending to disrupt the Canadian elections.
Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.
motion capture choreography simulated against motion capture choreography
A recently released prisoner reunites his criminal colleagues to pull off one last heist.
John Constable and his family return to Gibsons to find a new cast of characters who will battle over the fate of the now condemned Molly's Reach and Nick's old salvage business.