A Sunday walk in a forest turns into a poetic journey on perception.
Aurum Iter is a cinematic journey that delves into the depths of the visual and sonic, challenging the boundaries of traditional storytelling. Inspired by the minimalist essence of "Koyaanisqatsi", the short film invites viewers into a unique sensory experience where King Crimson's music intertwines with the visuals. Without dependence on words, the film reveals the fascinating interaction between humanity, exploring the intrinsic beauty and complexity of the world around us. As the visuals unfold before the viewer's eyes, an invitation is issued to contemplate society's impact on humanity and our never-ending quest for harmony with the environment. In Aurum Iter, I invite viewers to a poetic meditation on life, the interconnectedness of all things, and the urgent need to preserve the delicate balance between man, nature, and the body itself.
Haunted by flooding memories of their parents' verbal abuse, an insecure person decides to stop reflecting and start living the life they never knew they could have.
Serap is a successful theater actress. Although she rejects the traditional roles assigned to women in her personal life, she agrees to play the role of a traditional housewife in a shampoo commercial. However, she is unaware that this commercial will turn into her worst nightmare.
For years I've been looking for the means to capture everyday life just as it is perceived through a glance from the street. Twenty years ago, you could see young people standing with their bicycles on street corners, in fact, if the bicycles where there, you could be sure to find the young people standing there talking. I would like to document these kinds of events. On this occasion, I was presented with the opportunity to do so. For two and a half weeks, I walked around different parts of the city with my camera and collected images for the film. (Harun Farocki, 1979)
The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.
A couple, Vlad and Sophy, navigate their relationship as well as their own struggles with mental health in the context of a highly connected, politically uncertain modern world while on a trip to a remote Canadian island in this avant-garde feature film. PREFACE TO A HISTORY, created with a tiny crew of four people, represents an experiment in using minimalist tools to create an overwhelming aesthetic experience in service of a simple, but specifically contemporary, story about two people attempting to navigate a fraying relationship amid all the anxieties and external pressures of modern adulthood in a technologically-interconnected and politically unstable era.
Jessica, a young carer, and her mum, who is deeply paranoid and who sees and hears unexplained things have a strong and loving relationship. But the misfit relationship they have brings many challenges they struggle to overcome. The mum's deterioration in her mental health causes her to be sectioned, leaving Jessica lost in her life.
An experimental, non-narrative film exploring intimacy and the tension in a relationship between two people as they balance being physically removed and seeking contact, and how this intensifies the emotions they share. The film is exhibited through the lens of four different emotions: love, fear, joy and sadness. These are presented at face value without much explanation. The main focus is on their outward physical expression, both independently, and about one another, without the film having a clear temporal structure, rather presenting this relationship in a single instant and all at once.
At a peculiar dinner party, an actress tries to survive amidst visions of her darkest nightmares. Without the slightest notion of space-time, the bewildered actress faces her fears and addictions, lost between what could be real or a figment of her imagination, dinner takes on a life of its own.
Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism. Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts. Ray’s life and art were always provocative, engaging, and challenging.
In this film, Will Young travels to Magritte's native Belgium to find out more about the man whose trademark was a bowler hat and whose apparently conventional exterior concealed the mind of a subversive rebel. Will uncovers a childhood marked by tragedy, a marriage that lasted from Magritte's adolescence until his death in 1967, and a stunning artistic legacy which endures to this day.
Eleven young film-makers got together to collaborate in this atypical project. Atypical not only because of its technical specs, but because of its narrative structure. There are several scenes with only the city in common, and more as a conceptual presence at that than as a precise geography. None of those scenes contains a single "story": Each one of them is part of a larger situation that we cannot see, as though the beginning and end of each "story" had to be filled in by the audience.
Trapped and alone, a young man must confront the pain he's ignored when he finds himself face-to-face with consequence.
Documentation of an hour-long performance in which the artist walks barefoot through the streets of Brixton, South London, with Dr. Martens boots tied to her ankles. The work was made in response to the Brixton's uprisings of 1981 and 1983 and in solidarity with Black communities.