Infancia

Unheimlich(es)

To mom and dad(es)

Fran, a seven-year-old boy, walks with his mother through the suffocating morning of Buenos Aires. They are headed to a courthouse, where Fran must testify in a case involving his father.

El taller(es)

Lucas, an introverted boy who spends most of his days alone, is invited by a friend of his mother’s to spend a morning at the “Imagination Workshop.” At first, he struggles to fit in, but with the help of his new friends, he learns to trust and finds a second home.

Un Zoo Pas Comme Les Autres: En France(fr)

Bahala Na(en)

After learning to 'write what you know,' in film school, Half-Filipino and Half-White aspiring filmmaker Andrew Orticio travels back to his father's village in the Philippines to understand his mixed identity.

De Appel-iep(nl)

As part of the celebrations for 100 years of Amsterdam’s Vondelpark in 1965, the Vondelpark was transformed into a massive sculpture garden under the direction of Stedelijk Museum director Sandberg. 25 epic artworks by well-known artists such as Pablo Picasso, Alexander Calder, Henry Moore, Shinkichi Tajiri and Jean Tinguely were placed in the park. Karel Appel was also represented, by a gigantic elm tree trunk brightly painted in Appel’s characteristic manner.

Scar(lt)

A film about the pupils of the Čiobiškis Special School, children abandoned by their parents on the margins of society, the film sensitively portrays a huge wound in society.

Sesame Street Pitch Reel(en)

Rowlf the Dog presents the concept of the revolutionary educational children's show, Sesame Street (1969), to Kermit the Frog.

The Winter Garden’s Tale(uk)

The film’s story is based on the fate of the Floriculture Pavilion of the former Exhibition of Achievements of the People’s Economy, and its elderly employee Valentyna Voronina, who maintains this space, investing her own life into it, until suddenly changes come to her. After forty-five years of work, she is asked to retire. But Voronina does not agree with that, because she thinks that all the plants will die without her. Meanwhile, a group of mysterious radioesthesists find a channel of positive energy right in front of the entrance to the pavilion.

Lost in the 80s(lb)

LOST IN THE 80s is a documentary about the social, political and cultural situation in the Grand-Duchy of Luxembourg during the decade oft the 1980’s. Lead by two fictional characters, the narrative aims to depict a profound portrait of what this country looked like more than 30 years ago.

Juskatla(en)

Juskatla weaves together perspectives of the people who live on the islands of Haida Gwaii-an archipelago on Canada's Northwest coast, and the ancestral territories of the Haida Nation. From industrial loggers who harvest trees from ancient forests, to Sphenia Jones, a Haida matriarch who bears an intimate knowledge of her People's territories, Juskatla meditates on the divergent ways of being that shape the islands and its people.

Pink Floyd - L'histoire d'un groupe de Rock légendaire(fr)

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.

Mudder's Hands(en)

A dash of youth, a pinch of age, and an unrecorded recipe: Mudder's Hands is a charming documentary conversation about arthritis, centered around the tradition of baking Newfoundland raisin bread.

Nathaniel Dorsky: An Interview(en)

In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.