Time Keeps Marching On

Vivre dans l'Allemagne en guerre(fr)

Check Your Surroundings(id)

When a pornographic VCD gets stuck inside the VCD player due to a power failure, An adolescence boy must race against time to pull it out before his menacing father finds out

Henri Matisse(fr)

Documentary film about artist Henri Matisse

Someone Else's Country(en)

Someone Else’s Country looks critically at the radical economic changes implemented by the 1984 Labour Government - where privatisation of state assets was part of a wider agenda that sought to remake New Zealand as a model free market state. The trickle-down ‘Rogernomics’ rhetoric warned of no gain without pain, and here the theory is counterpointed by the social effects (redundant workers, Post Office closures). Made by Alister Barry in 1996 when the effects were raw, the film draws extensively on archive footage and interviews with key “witnesses to history”.

In a Land of Plenty(en)

The story of unemployment in New Zealand and In A Land of Plenty is an exploration of just that; it takes as its starting point the consensus from The Depression onwards that Godzone economic policy should focus on achieving full employment, and explores how this was radically shifted by the 1984 Labour government. Director Alister Barry's perspective is clear, as he trains a humanist lens on ‘Rogernomics' to argue for the policy's negative effects on society, as a new poverty-stricken underclass developed.

1 on 1(en)

Jamie Johnson is a kid with a dream. A dream and a talent which could take him all the way to the very top. It’s a story about handling your parents (or lack of them) and getting through school with your friendships and soul intact. And it’s about football; the mud, the blood, the passion, the tears and the jumpers for goalposts on a Sunday in the park when you play with every fibre of your being and nothing else matters.

Reiwa Uprising(ja)

Kazuo Hara follows Ayumi Yasutomi, a transgender candidate, who is also a Tokyo University professor, as she embarks on a national campaign for a seat in Japan's Upper House.

Con Traje y Sin Zapatos(es)

Strade perdute - Filmmaker 23(it)

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.

Under the Libertarian Sign(es)

Bajo el signo libertario is a propaganda documentary, with the script and direction of Les (known for his articles in Solidaridad Obrera and the magazine Espectáculo) whose central theme is the reconstruction of the development of life in a libertarian community in the Aragonese town of Pina de Ebro.

Tío Jess(es)

Two/2(en)

Music scores are atomized and recompiled into instructions for visual edits and cues. Ties are uncovered between sight and sound.

In the Ocean, on Land(en)

Panasonic PV-GS83 in a plastic bag thrown in the ocean.

A Staircase(en)

Single frames vectorized and stitched before processing through an analog EAB.

Water Theater(en)

White Rock Lake Water Theater in Dallas, Texas. Sculpture by Frances Bagley and Tom Orr. Video compiled from 35mm stills.

XYZ(en)

Oil spills around Oak Cliff, Dallas.

The Sun(en)

Compiled and animated from still images.

Dresden Oktober '89(de)

The Future Is Rotten(en)

A secret culture of foragers hunt the Matsutake, a coveted Japanese mushroom worth up to $1,000 a pound—although its true value lies underground as a brilliant networker and healer of ruined landscapes. The Matsutake might just be our last, best hope for an American forest system run amok.

Flora(es)

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.