6/64: Mom and Dad (An Otto Mühl Happening)(1964)

Red(en)

Based on the true story of Louis "Red" Deutsch. A New Jersey bar-owner is plagued with prank phone calls that prompt him to flip into psychotic, profanity-laden rages.

Six Weeks to Twelve Years(en)

After the death of their abusive father, two estranged twin brothers must reunite and sell off his property.

Gasping for Air(tl)

When his sister disappears after leaving their home in hopes of singing stardom, Luis tracks her down and discovers the grim reality of her whereabouts.

Red(pt)

Forest(en)

Short film built from photographs, sped up like a traditional stop motion and is meant to be an evocation of the English Eerie and Folk Horror.

Japan(en)

Code name Japan is a contract killer on a job. Accustomed to staying in hotels, Japan finds himself jet-lagged in the middle of the night and forced to eat in the hotel restaurant, room service being closed. There, he meets a man, Alfred. Alfred was recently evicted from their marital home by his now ex-wife and now lives at the hotel. A loner befriends another loner, and their unexpected friendship leads their faith to a twist and turn ending ...

Nullarbor(en)

An animated road-movie set across the vast and barren landscape of Australia's Nullarbor Plain.

I'll Find a Way(en)

I'll Find a Way is a 1977 short documentary directed by Beverly Shaffer. It is about nine-year-old Nadia DeFranco who has spina bifida. The film won an Oscar for Best Live Action Short Film.

Forest(en)

Video installation, 2005, at LOKAAL_01 Breda 2007, Burning Marl, curator Frederik Vergaert in Seppenshuis Zoersel, 2005. A woman walking through 3 video images. Three screens display how the day’s light passes by: from the early morning light until late at night. Along with the woman the artist walks through the forest, in the same rhythm, the same pace. Off-screen she looks through the camera, fragmenting time. The age-old androgynous trees are a vertical constant along which the woman moves, as if in an interval between visibility and invisibility, between sound and silence, while the light keeps on evolving metabletically.

Die Wiskottens(de)

Murder at 3am(en)

A police detective suspects that his sister's boyfriend is a murderer.

Near the Dangerous Line(ru)

A group of Soviet soldiers are trying to prevent the chemical weapons trials by German army during WWII.

Intermedio(en)

Under the border leading into Mexico, within a labyrinth of caves, a deadly presence haunts all who enter. For four friends on an expedition, the caverns become an underground graveyard as the tortured ghosts prey upon them, one by one.

Paraluman(tl)

A young woman, who just arrived in a barrio, falls in love with a married man. When people around them start to meddle, their forbidden romance is put to test.

Let's Play Live: The Documentary(en)

An exploration of why Let’s Plays are so popular, as well as how the convergence of gaming and community are redefining the stages once reserved for only the biggest of rock stars.

NULL(en)

A hitman is tasked to take out ex-mobsters when he suddenly hears a voice that questions his morality.

Spring(ru)

This is a story about a city guy Nikolai, who will have to go instead of his friend on a rural business trip. A series of funny events, meetings and the beauty of the Yakut village encourage Nikolai to make an important decision in his life…

An Audience with Michael Bublé(de)

Michael Bublé hosts his own special and performs some of his best loved songs and classics including ‘Cry Me A River’, ‘Haven’t Met You Yet’, Everything’, ‘Me and Mrs Jones’, ‘Home’, ’Hold On’, ‘Feeling Good’, ‘Georgia’ and ‘How Sweet It Is’.

1-2-3(es)

How can we visualize Body Ownership? We connected Body Ownership with an I-perspective, looking for images that uncover the multiplicity of the ‘I’ First person plural. Strapping two body cameras (GoPros) to our chests, we move in direct body contact. Our premise is that both I-perspectives of the cameras are at interplay with each other, showing that gaze is never produced by a singular entity. Instead, it is the result of bodies touching and reacting constantly to each other. The body cameras are joined by an external camera – a third-person perspective. While it may hold a position of power as the one who frames the image from the outside, it desires to dive into the collective I-perspective. BE-LONGING. At one point the gazes of the I-perspectives and the outside camera meet – they look at each other looking. Gazes conjoined with bodies. Body is spatiosocially bound, is situated.

Gusanos de seda(es)