Roda Viva Roda Brasil

Bukit Orang Salah(en)

At various points in its history, tiny St. John's Island was where Singapore's colonial founder Sir Stamford Raffles docked his ship upon arrival, a quarantine centre for immigrants and pilgrims returning from Mecca, a penal colony for political detainees and secret society leaders, and a sleepy holiday resort. Unlike its neighbouring islands, however, St. John's was never fully developed. It occupies an in-between space, the vestiges of its history scattered around the land. Its indeterminacy stands in sharp contrast to Singapore, where land use is meticulously planned to fulfil economic and social functions. In this film, St. John's Island - otherwise known as 'Bukit Orang Salah', a nickname coined by the people who were quarantined there - becomes a site of and for reflection, prompting questions about our history, heritage and identity.

Hiding Under a Copy of the Strokes' Single 'Under Cover of Darkness'(en)

Hiding inside&out, writhing about, taken out&in.

Leonora Carrington or The Ironic Spell(es)

Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.

Tudo é Irrelevante. Hélio Jaguaribe(pt)

Revisited Remunerations Rapturously Collapse When Recompensed(en)

Your raging romp results only in rescinded regret @ the hands of radder cadets.

Sebastian and Jonas Leaving the Party(en)

"My last image of Jonas."—Ken Jacobs

Every Ambulation a Betrayal(en)

Return to 'burn' only to find out you're already in that urn.

We Could All Do With a Little Back & Forth As Far As It Concerns the To & Fro of Everywhere Each of Us Go(en)

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

Aridity Enclosure 1(en)

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Chinese Viola(pt)

The rare short film presents a curious dialogue between filmmaker Julio Bressane and actor Grande Otelo, where, in a mixture of decorated and improvised text, we discover a little manifesto to the Brazilian experimental cinema. Also called "Belair's last film," Chinese Viola reveals the first partnership between photographer Walter Carvalho and Bressane.

No Impersonator , Perpetrator(en)

Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.

Always Aching & Bending Back(en)

Slowed, stowed, achingly retold.

Two Years, Four Months, A Day(gl)

With no choice, César faced leaving his family behind, quitting his job and joining the Army. In an unprecedented chain of events he became the first conscientious objector in Galicia (Spain) to be put in prison. Now, nearly thirty years later, Two Years, Four Months, A Day takes a look at what made him do it.

What Was It Supposed to Be Like?(en)

Rather pointless, rather stilted, fetid; not what we want us going after.

Xenoi(en)

The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.

On the Various Nature of Things(en)

Age 12: Love with a Little L(en)

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

Moonwalker(en)

This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.

Heliorama(pt)

A collage of newsreels, trailers, clips and other visionary and unseen fragments of sight and sound regarding the late plastic artist Helio Oititica.

The Five Obstructions(da)

In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.