Once upon a time in Iceland(NaN)

Noi the Albino(is)

17 year old Nói drifts through life on a remote fjord in Iceland. In winter, the fjord is cut off from the outside world, surrounded by ominous mountains and buried under a shroud of snow. Nói dreams of escaping from this white-walled prison with Íris, a city girl who works in a local gas station. But his clumsy attempts at escape spiral out of control.

Black and White Trypps Number Four(en)

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

White Night Wedding(is)

Jon, a middle-aged professor is going to get married tomorrow, for the second time, to one of his ex-students half his age. But it's not all roses. First, there's his cranky mother-in-law-to-be who violently opposes the marriage and who demands repayment of Jon's loan before the wedding night. Second, his plans to build a golf course on the little island of Flatey where they live aren't going at all to plan. Third, his extremely drunk best man is on the loose without any shoes and lastly, the continual presence of his emotional first wife is haunting his every move. When the guests start flocking to the island, Jon starts getting cold feet. After a very long night of drinking and thinking, will Jon be able to make it to the church on time?

Superstar: The Karen Carpenter Story(en)

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

Begotten(en)

Begotten is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.

Chelsea Girls(en)

Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.

Hostel(en)

Three backpackers head to a Slovakian city that promises to meet their hedonistic expectations, with no idea of the hell that awaits them.

3part Harmony: Composition in RGB #1(en)

This experimental dance film employs a bastardized version of the 1930s three strip Technicolor process. Shot entirely on black and white film through color filters, the images were recombined into full color through optical printing techniques, one frame at a time. The gestures in this dance work explore the psychological fracturing and reunification in representations of the female body.

Voyages au centre de la Terre : Dans les pas de Jules Verne(fr)

Gerhana(ms)

A dark take on media manipulation and political situation in Malaysia. The idea is to convey how normal citizens even though sometimes they know what they read and heard are absurd and not right but still with not much options to react but to accept them in order to maintain their livelihood. And at the same time powerful figures whom understands the mentality of the citizens continues to drives their ridiculous and absurd ideas and opinions to the mass.

The Adventures of *(en)

Life drums the playfulness out of a boy as he grows up.

Closed Vagina(ja)

Adachi's follow-up to Bowl using the figure of a woman suffering from an unusual sexual aliment has often been taken as a controversial allegory for the political stalemate of the Leftist student movement after their impressive wave of massive fiery protests failed to defeat the neo-imperialist Japan-US Security Treaty. The ritualistic solemnity of the charged sexual scenes contribute to the oneiric qualities of Closed Vagina which Adachi would later insist was an open work, not meant to deliver any kind of deliberate political message. - Harvard Film Archive

The Displaced View(en)

The Displaced View traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history, are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative, question documentary as truth.

Alaska(de)

Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.

Tree of Knowledge(en)

It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.

I Have No Memory of My Direction(en)

Ostensibly searching for an emotional connection with her aging father, the woman contemplates her own inherited culture and familial touchstones. Her North American pop culture sensibility fuses with a distorted Japanese perspective to create a surreal interpretation of a “Japan of the imagination.” This fictional landscape is peppered with invented Japanese myths, ruminations on memory loss, the temporal space of digital photography and the ghosts of inherited imagination.

Let Us Persevere in What We Have Resolved Before We Forget(en)

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

Jones(en)

A short experimental film about a fire hydrant, a busy sidewalk nestled between an electrical post and a building.

@me(en)

An amateur stand-up comedian seeks company online after the bar closes on a winter's night, but fails to connect with her surroundings and herself.

42/83: No Film(en)

"In 1983, I got a job as a museum attendant and abandoned film-making entirely. And so the question arose: "no film?," and the conclusion I came to was: no film. Question mark." (K.K.)