La Jardinera(2019)

Atlantis(en)

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

Two Times in One Space(sh)

One film projected two times with a difference of a couple of seconds.

Collective Hum(en)

A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.

Yayoi Kusama: I Love Me(ja)

Captures the avant-garde artist Yayoi Kusamas creative process as she diligently works to complete her series of 50 large monochrome drawings. As her work comes to life, one can witness the essence of her art as it wells up in the conflict between life, death, and love.

The Mind and the Crime(es)

The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.

And the Chimneys Decided to Escape(xx)

Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.

Suena la trompeta, ahora veo otra cara(xx)

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

París #1(gl)

A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.

South(en)

What kind of power is accessible through the discovery of a voice? Morgan Quaintance interlinks two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side with his own biography to explore what happens when speech is ignored, and the voice fades.

Stup DvD(fr)

Chance, History, Art...(en)

Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.

Frank Zappa – Summer '82: When Zappa Came to Sicily(en)

In the feature documentary, Summer 82 – When Zappa Came to Sicily, filmmaker and Zappa fan Salvo Cuccia tells the behind-the-scenes story of Frank Zappa's star-crossed concert in Palermo, Sicily, the wrap-up to a European tour that ended in public disturbances and police intervention. Cuccia had a ticket to the concert but never made it. Thirty years later, collaborating with Zappa's family, he re-creates the events through a combination of rare concert and backstage footage; photographs; anecdotes from family, band members, and concertgoers; and insights from Zappa biographer and friend Massimo Bassoli. The story is also a personal one, as Cuccia interweaves the story of Zappa's trip to Sicily with his own memories from that summer.

Buenos Aires(es)

An urban documentary that explores economic inequality in Buenos Aires through the contrast between large mansions and skyscrapers that coexist with slums.

Zyndagi(en)

An experimental video collage piece that investigates the concept of self-destruction across genres, eras, and cultures. Features footage from Abbas Kiarostami's Taste of Cherry (1997), Satyajit Ray's Apur Sansar (1959), Charlie Chaplin's City Lights (1921), and Jeff Tremaine's Jackass 4.5 (2022), among others.

Decasia: The State of Decay(en)

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

Man with a Movie Camera(ru)

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Swimming Stone(en)

Fluidity of stone. Subatomic motion asserting a surface. Mind loop wandering. Visitation of sound matrix. Liquid solid. Nature transforms a planetary cycle. Relations of a timeless void.

Wall Street(en)

Shot at high noon in New York’s financial district, Wallstreet is much like a vertical tickertape, charting the existence of typical office workers. The film’s elongated shadows suggest these workers’ depersonalized, neuter, nearly uniform lives, which flow by without any solid or stable element that might provide definition.

Western 4.33(en)

Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.

The Island(en)

The Island is a short film shot entirely on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. The artist and his family were some of the 250,000 people who inhabited the tiny island between 1978 and 1991; it was once one of the most densely populated places in the world. After the United Nations High Commissioner for Refugees shuttered the camp in 1991, Pulau Bidong became overgrown by jungle, filled with crumbling monuments and relics. The film takes place in a dystopian future in which the last man on earth - having escaped forced repatriation to Vietnam - finds a United Nations scientists who has washed ashore after teh world’s last nuclear battle. By weaving together footage from Bidong’s past with a narrative set in its future, Nguyen questions the individual’s relationship to history, trauma, nationhood, and displacement.