Happy Life
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The Death of Father Men(ru)
Alexander V. Men was a Russian Orthodox priest, theologian and writer, whose influence is felt among Christians, both in Russia and abroad. He was murdered on September 9th, 1990.
Waves(en)
Waves is a visually breathtaking film about the power of the sea. Capturing the Atlantic Ocean in various moods as it crashes against the Irish coasts, the film is a hymn to the relentless power and endless beauty of this elemental force of nature. With coastal scenes harking back to the majesty of Flaherty’s Man of Aran (1934), Carey offers a unique sea-centred depiction of the islands as his painterly cinematography offers mesmerising images of roiling seas, waves crashing against the Aran rocks, sunsets and a golden full moon. John Taylor, friend and colleague of Carey, had originally worked on Man of Aran and filmed some of the additional photography in Waves.
From Its Mouth Came a River of High-End Residential Appliances(en)
Hundreds of feet in the air, a drone approaches a row of skyscrapers along Hong Kong’s affluent southern coast. The target: giant holes in the buildings’ facades kept clear for the passage of mythological dragons. Over three successive trips, an affectless voice offers thoughts on feng shui architecture, ideological resistance, and notions of queer identity.
1986 Summer(ja)
A previously unseen short by the Japanese avant-garde titan, Toshio Matsumoto's 1986 Summer locates faces and bodies within superimpositions, zooms, a lightning-fast montage of brick structures and verdant trees.
The Wolf Kids(es)
Vismán and Alejandro live alone with their father, a veteran of the Cuban Revolutionary Armed Forces. In the intimacy of their house and their day-to-day life, the two brothers participate in filming their portrait by imagining staged scenes that reveal the violence inherited from their national and family history. – Camille Kaiser
Look at the Face(ru)
Short film in the Hermitage Museum looking at da Vinci's Madonna Litta.
Hit Him on the Head with a Hard Heavy Hammer(en)
Hit Him on the Head with a Hard, Heavy Hammer departs from the handwritten memoir of the filmmaker’s father and his experience of displacement during wartime. Referring to the notion Thomas Hardy termed ‘The Self-Unseeing’ in his eponymous 1901 poem, the film returns to childhood and the matters that harden us: upbringing, social status, education, labour, and familial bonds. The memoir weaves into the film as both a contemplation on mortality and an illustration of fading memory, reflecting on how we pen our pasts and how they can be re-told.
La fuga(es)
The internal journey of eight men, who, through a theater workshop, go through the different prisons they inhabit. Practicing the art of seeing themselves, in Boal's words, this group of men reflects on their masculinity as a representation to hide their true strength: their vulnerability.
Son para tres(es)
At the east of Mexico City, three people have decided to break the stereotypes set by society and build a new reality; where love, solidarity and dance are the axes.
Tierra en Trance(en)
These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence. Here our point of view sparkles under the spell and trance of things gathered, fallen, yielding, pluvial, Mesoamerican wind, goddess breath, breeze of sticks. percussive woods. Here the audiovisual diagram that guides us, the kinetic breath that inspires us, the serpentine spear that snatches us away, the agitated plumes that trembles at us are the sound and rumbble of Teponaztli, a Mesoamerican percussive instrument: serpentine, dancing, bouncing sticks, trunks, branches and wood. Kinetic and audiovisual serialism from the embers of the Earth. This is the Earth in a Trance.
Prairie Flowers(es)
After Silvia’s femicide, Yecenia, her cousin, and one of the ñomndaa weavers from the Prairie of Flowers, create a ritual and poetic mourning alongside other weaving women. The ñomndaa women share ancient wisdom about their profession as weavers, rooted in breathtaking myths and the foremothers’ real life experiences. The elders decide that the only way to proceed is to look forward to the future, taking care of the young children left behind after their mother’s murder. Yecenia speaks through the radio, urging her local community to adopt new words, such as femicide, into their local tongue. Through this ritual, threads, dreams, and their craft are collectively woven together as an act of healing and resilience. In Prairie of Flowers, the act of weaving opens up to become an act of resistance in its own right.
Victoria(es)
In a small and conservative city in Jalisco, Alex builds his identity and defends his dreams: fatherhood, music, being a man.
Mother of the World(en)
Six million tons, suspended by the slightest gesture. Mother of the World presents a series of brief vignettes of Cairo just prior to the 2011 Egyptian Revolution. These fragmented scenes choreograph class structure and foreign influence into an intimate, poetic view of a nation about to change.
Dark Fears Behind the Door(en)
Rare interview of Sergio Martino and Edwige Fenech (with Luciano Martino, Ernesto Gastaldi & George Hilton) discussing their film The Strange Vice of Mrs. Wardh
Charles Santore Illustrates The Wizard of Oz(en)
Charles Santore, in an expansion of his discussion in “Oz: The American Fairyland” (1997) (V), tells about his experience making an abridged storybook of “The Wizard of Oz”. He tells of his inspirations, the little girl who modeled for Dorothy, the tin man in folk art, and a left to right progression in a journey of identity, with opposing forces pushing the movement in art back to the left.
M6NTHS(en)
Short film about an animal in captivity longing for the outside. An animal that, like us, dreams, is intelligent, curious, social and sensitive, and in whom we can clearly recognise a soul. The piglet in this movie invites us to see the world through his eyes, which will forever change our view on pigs.
Preschool to Prison(en)
Preschool to Prison is a compelling examination of how the United States public school system is built and operated like prisons. Zero-tolerance policies are used to justify suspension and arrests that set up a pathway to send children of color and children with special needs from school to prison. Children are being suspended, restrained, dragged, physically manhandled, and subsequently arrested for minor offenses such as throwing candy on a school bus. These personal accounts from people affected by the school-to-prison pipeline give riveting tales about the generational impact on society.