Lahemaa(2010)

Atlantis(en)

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

FairyTale: A True Story(en)

In 1917, two children take a photograph, which is soon believed by some to be the first scientific evidence of the existence of fairies. Based on the true story of the Cottingley Fairies.

Collective Hum(en)

A short film exploring the polyphony of collectivity in the desires, motivations and stories that foreground the histories and present(s) of Black British sound. Collective Hum documents a collective in practice through the operation of B.O.S.S using multiple narration, overlapping voices and the sound of group interviews, meetings and events to create a polyphonic score to soundtrack images of the ‘collective bodies, kinaesthetic experience and gestural language’ of sound system culture.

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.

The Castle(es)

Having worked as a housekeeper all her life, Justina inherits from her former employer a mansion in the middle of the Argentinian pampas. Under one condition: she must never leave. In this modern fairy tale, Justina and her daughter Alexia will face the challenges of keeping that promise alive.

And the Chimneys Decided to Escape(xx)

Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.

Suena la trompeta, ahora veo otra cara(xx)

A homage to Andrei Tarkovski made for the Spanish edition of the Chris Marker movie 'Une journée dans la vie d’Andrei Arsenevich'.

París #1(gl)

A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.

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.

Stup DvD(fr)

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.

Buenos Aires(es)

An urban documentary that explores economic inequality in Buenos Aires through the contrast between large mansions and skyscrapers that coexist with slums.

Junior War(en)

In Junior War, a throng of highschoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.

Decasia: The State of Decay(en)

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

Meshes of the Afternoon(en)

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

The Song of the Hoggar(fr)

Le Chant du Hoggar, a fictionalized documentary directed by Pierre Ichac, which takes as its theme the adventurous life of the Tuaregs of yesteryear, the setting being the lesser-known mountains and valleys of the Hoggar, and the actors being the Tuaregs themselves. This production, of considerable interest, was filmed last year by Pierre Ichac, a project manager for the General Government of Algeria. For six months, the young director, who traveled more than 7,000 kilometers by car and about 1,000 kilometers by Méhari through the Hoggar mountains, recorded 8,000 meters of film. The beautiful Fatimata reigns over all hearts in the wandering Tuareg tribe, with her herds, in the high valleys of the Hoggar. But she loves The Lion, the bravest of the young warriors of an enemy tribe. And it is Fatimata's name that The Lion lovingly carves on the rocks of the mountain.

Man with a Movie Camera(ru)

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Swimming Stone(en)

Fluidity of stone. Subatomic motion asserting a surface. Mind loop wandering. Visitation of sound matrix. Liquid solid. Nature transforms a planetary cycle. Relations of a timeless void.

Wall Street(en)

Shot at high noon in New York’s financial district, Wallstreet is much like a vertical tickertape, charting the existence of typical office workers. The film’s elongated shadows suggest these workers’ depersonalized, neuter, nearly uniform lives, which flow by without any solid or stable element that might provide definition.

Western 4.33(en)

Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.