1972-03-13
0
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
Love, sex and death get mixed in a homosexual love story between two desperate boys in a big city.
A lonely kid who lives in the countryside meets a strange boy who has a ragged umbrella over his head and there is always rain pouring over him. The rain boy is dazzled by the other kid's boots and offers three wishes in exchange for them.
Luis, an orphan boy selling marzipan on the streets, meets Mariana, an impulsive and energetic girl. As the years go by they remain connected, and will experience the bouncing of a lifelong friendship.
The love story begins when a young prince hunting in the forest chases a squirrel to a beautiful princess.
A man is sent back and forth and in and out of time in an experiment that attempts to unravel the fate and the solution to the problems of a post-apocalyptic world during the aftermath of WW3. The experiment results in him getting caught up in a perpetual reminiscence of past events that are recreated on an airport’s viewing pier.
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
What will it take to hold a heart, whether it's behind closed doors, beneath the surface, joining the party or is it room service? To Hold a Heart -- Directed by Michael Wallin, 13 min Closed Doors -- Directed by Beatrix Moersch, 8 min Beneath the Surface -- Directed by Kirk Shannon-Butts, 9 min Join the Party -- Directed by Stephan Deraucriox, 10 min Room Service --- Directed by Daniel Reitz, 20 min Time Will Tell -- Directed by Kelly West, 7 min No, Final Answer -- Directed by Jose Sunsin, 5 min El Dia de mi Boda -- Directed by Rafael Robles Guierrez, 22 min
Marco lives in a world of his own. He wants to spend the event of the total eclipse concentrated and by himself at a junkyard. Lena crosses his path and stays by his side because she likes him and tries desperately to get closer during this special moment.
Chloé and Louis are secretly in love with each other. Every word is a move, every sentence is a choreography.
Lizon has just attended her friend Marie's birthday. The friends around the birthday cake, the candles to be blown, the wish to be made amazed her. For her ninth birthday, Lizon wants to have the same thing. A birthday with a cake, candles and her friends, at her home: in the car.
Holly Woodlawn is an aimless, lovelorn beauty in this seventies silent short.
An experimental summation of the connective space and sense of re-discovery between two people in a long-distance relationship.
Noah, in his final year of high school, decides to sign up for a dating app after recommendations from his best friend. There, he will make a charming meeting, Diego, a boy of the same age who, unlike him, is not yet ready to take the leap. The relationship between the two boys who communicate only through the application becomes more and more powerful as the days go by and the idea of meeting in real life is quickly essential. Noah is going to experience the intense stress of a first romantic encounter. This is if Diego decides to take the leap and come to the meeting.
A woman and her ex-boyfriend reconnect at the vet after their dog gets sick, as a new boyfriend experiences jealousy. “WILK,” directed by Peg, is an experimental comedy with its own absurd cinematic language and esoteric scene-building. Joseph watches from the car as his girlfriend, Tallie, is consoled by her ex outside the vet (while Joseph’s car has a penis spray-painted on it). Later at home, Joseph still feels antsy about Tallie’s reconnection with her ex, as he’s offered a glass of ‘WILK’ (wine+milk) soon claimed by Tallie’s roommate, an eccentric music producer. Having learned what the titular WILK means, we can now cut to a boxing match between a milk mascot and a wine mascot while a hip hop track plays. Delivered as a medley of bizarre shifts and barely discernible story beats, the film is intriguingly chaotic and one-of-a-kind.
A woman struggles to reconcile the prospects of raising her unborn child alone, and her fears become vivid nightmares.
Elliot struggles with OCD, locking his door all night, every night. One night he decides to not lock the door, and is horrified when he encounters a strange intruder.