Carta a Boris

To Teach a Bird to Fly(fi)

This experimental nature documentary by Minna Rainio and Mark Roberts depicts climate change and the wave of extinction from the point of view of our near future. Actually, it depicts the age we live in now, or rather its fateful consequences.

Liberation Diaries(it)

The end of World War II brings Europe a new political system, reshapes national and personal identities. Three women from Milan, Paris and Berlin report on the days of liberation in their diaries. Their personal stories expand the historical picture and make LIBERATION DIARIES a chronicle of female self-empowerment, resistance and resilience.

The Mind and the Crime(es)

The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.

South(en)

What kind of power is accessible through the discovery of a voice? Morgan Quaintance interlinks two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side with his own biography to explore what happens when speech is ignored, and the voice fades.

Claudette's Star(en)

Acting as part ode and through a series of interpretations, Claudette’s Star depicts young artists considering with sheer wonder who is given a voice.

Intransit(th)

A thrillingly lo-fi salute to the old-school, hand-crafted special effects that were once a mainstay of pre-CGI science-fiction films.

SECULAR | Aa'La'Ma'Ni(en)

How is secularism depicted in films? The term "Aa'La'Ma'Ni" means worldly in Arabic. It's significant in the Middle East, where secularism is controversial since the majority often link secularism with atheism and anti-religious sentiment. SECULAR | Aa'La'Ma'Ni, a documentary based on academic research, explores the depiction of secularism in Middle Eastern cinema and TV channels. Filmmakers and regional producers openly discuss religion, sectarianism, authorities, minorities, and industry challenges.

Almost Nothing: So Continues the Night(hr)

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

Transitions(en)

A look at the various modes of transportation made for the Expo '86 World Fair in Vancouver, Canada.

Congo(en)

An experimental ethnographic documentary that criticizes the colonizer view of anthropology.

Adios amigo mío, sin gestos, sin palabras(en)

The title comes from Sergei Yesenin's last poem before comiting suicide. Using Virginia Woolf's last letters as a base, this film is meditation on the power of the word and its undertsanding and the the last moments before saying "goodbye".

Thot-Fal'N(en)

This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."

Aileen Wuornos : Mind of a Monster(en)

Serial killer Aileen Wuornos writes down her darkest secrets for her best friend while on Florida's death row; now, for the first time, those secrets are revealed in detail.

Chance, History, Art...(en)

Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.

Roda Viva Roda Brasil(pt)

A Messenger from the Shadows (Notes on Film 06 A/Monologue 01)(de)

Thanks to his myriad film roles, Lon Chaney is known as “the man of a thousand faces,” and you could say that the early horror era never beheld a figure more intriguing. Yet because of his numerous transformations, his face never became as iconic as that of, say, Boris Karloff. Accompanied by a soundtrack from Bernhard Lang, this “re-imagination of shots” taken from Chaney´s forty-six surviving films offers a beguiling excursion into the history of film. The director reveals surprising associations, while highlighting the enduring magic of works which are now more or less forgotten.

My Mexican Bretzel(es)

Lies are just another way of telling the truth. The desire to believe is the hand of the man hanging from a cliff and clinging to the only stone that would seem to save him. But he always ends up falling because the stone is a mirage, just as the cliff is. Death is awakening from this dream in which the essential can be said and in which the continuous and infinite has a beginning, an end and a meaning.

Bird(en)

This portrait of a guinea fowl is the first clear vision I've had of the hot-blooded dinosaurs still living among us. (SB)

Worm and Web Love(en)

WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.

City Streaming(en)

This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.