Frames, movements and reflections.
Frames, movements and reflections.
2018-07-06
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Sabine is looking for a missing image: a day that has left its mark forever and that everyone remembers but her. But maybe this absence is what allows her to move on with her life?
Returning to his hometown one last time, a wayward love rat reignites friendships and reopens old wounds in one self-destructive weekend.
An audio-visual examination of common reCAPTCHA themes through manipulated field recordings, memetic samples, and simulated situations.
Moving Matter is the culmination of a material-led process with artists from dance, costume design and film that began with a study of old kitchen flooring about to be discarded. This flax-based material enters our orbit in the 1950s, where a measured homelife and prescribed domesticity offered a reassuring antidote to bomb scares, political turmoil, and paranormativity. Stability topples as the flooring becomes entangled in the lives of those who don the material as garments and shelters. This film was made through Moving Matter, a long-term research-creation project that offers a methodology for rethinking the dynamism between raw materials, garments, and the body. Moving Matter steers the locus of choreography and wearable design away from human hierarchy to instead support truer collaboration amongst all moving materials, both human and non-human, in this case… linoleum.
This Petersburg you will not see on the covers of glossy magazines and advertising brochures. This city is ghosted and brutal, and it is inhabited by very different, often very gloomy people.
A son revisits his old home, a place he once knew, searching for a lobster. An exploration of the complexity of masculinity and a letter to my father.
A short film about the abstract processes of light becoming a physical form in the landscape.
Slide-show of genuine postcard 'fronts' set to readings of their 'backs.'
A satirical look at suburban life via the "family Christmas letter."
A poetic story of a proletarian couple’s relationship during the years of economic crisis and unemployment – of all the films directed by E. F. Burian, the film Chceme žít (We Want to Live, 1949) is probably his worst. The intention to create a powerful work of cinema that would combine modern means of expression with the ideological canons of socialist realism failed completely. Ježek and Tarnovski discovered these „shambles“ and tried to rebuild a structure out of the hopelessness and futility of life. Ježek has photochemically “transcribed” selected passages with the greatest possible degree of humility towards the work of the great avant-gardist, Tarnovski similarly makes the soundtrack visible. The improvised encounter of sound and image in dialogic mode can lead to various misunderstandings resulting in ambiguous compromise.
The inner mind of Aaliyah Petra, a young black dancer fighting to withstand the immense pressure of being her family and community's “Moneybaby.” Aaliyah battles through the overwhelming pressure to succeed, discovers her own resilience, and realizes the true meaning of Black Excellence.
Whilst a boy mourns the passing of his younger brother, hope of unity is found in his grief.
Fame driven Ken Dean becomes the subject of a documentary when he attempts to start a pornography company. Following the failure of the company, Ken uses his father's religious music to start a Christian rock band but finds himself trapped in a gay conversion cult.
Told through still photographs, an unseen character longingly admires a young woman from afar.
Shifting market trends force the hand of a career artist into adopting a new style.
In this non-dialogue tale, taking place along the coast of Vietnam, a mermaid is rescued from the fish market by a fisherman. As the hero carries her back to the ocean, they are joined by two jolly seahorses. Upon her wake at the beach, the mermaid performs a sensual dance. But her joy is cut short: the waves have other plans.