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An actress’s perception of reality becomes increasingly distorted as she finds herself falling for her co-star in a remake of an unfinished Polish production that was supposedly cursed.
The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.
Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.
Filmed during summer 2019, Jesus Is King brings Kanye West’s famed Sunday Service to life in the Roden Crater, visionary artist James Turrell’s never-before-seen installation in Arizona’s Painted Desert. This one-of-a-kind experience features songs arranged by West in the gospel tradition along with new music from his forthcoming album.
Along the silver stream
Inspired by Lois Patiño's short movies project called "Paisaje-Duración" (Duration-Landscape) and Hiroshi Sugimoto's photo series "Seascapes", "Duração-Diferença" (Duration-Difference) reveals the difference through duration, through time; this short experimental movie seeks to capture, as Patiño and Sugimoto achived, the immanence as the entrance for something more - or something in between.
Memory is a collaboration with musician Noah Lennox (Panda Bear), exploring the relationship between a musician and filmmaker and their personal reflection on memories. From Super 8 home movies and entirely handmade, this film explores familiar memories, the present moment combined with past experiences and how it all seems to evade from our present memory.
Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt's ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.
A sensual hommage to Germany's most productive queer filmmaker, Rosa von Praunheim.
A short film collaboration between director Kristian Day and make up artist Patrick Boltinghouse. Patrick had created the make up for Pride Weekend 2010 in Des Moines, Iowa. After the parade, he called Kristian up explaining that he was in make up and had a bird on his shoulder. Kristian's only reply was "I'll get the camera ready". Filmed entire in his home, Kristian made two versions: a single play version and a "locked groove" version which played on a loop at the Resident Artists: Guns Blazin' show on July 9th, 2010 in Des Moines.
Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.
In a surreal universe where bananas fire laser beams and soup cans are used as grenades, a wacky cast of gangsters are thrown into a deadly game to battle it out over a mystical longboard in this trippy take on the Tarantino crime genre.
A chauvinistic young man pays a visit to a new nightclub named "Salem's Flames", unaware that he is about to meet his comeuppance at the hands of a coven of witches.
A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?
A further iteration of the initial experiment, pushing the limits of data moshing, glitching, and digital corruption. This version refines and distorts the previous interlude, manipulating the raw artifacts to reveal new, unintended patterns within the fractured imagery.
A shift in source material while maintaining the core principles of digital destruction. New footage is subjected to unpredictable degradation—glitches emerge, dissolve, and evolve in a chaotic interplay of color and fragmentation. An exploration of breaking images in unfamiliar ways.
An exploration of fluidity in both motion and corruption. Water, ever-shifting and formless, becomes the guiding concept—its movement echoed in the distortion of the image. Glitches ripple and flow like liquid, blending destruction with an organic, almost natural rhythm. For the first time in the Interludes series, sound emerges: the steady stream of water from a sink, grounding the chaos in something tangible, yet equally transient.
The night before her eighteenth birthday recital, an overworked and undertalented pianist is abducted by three ghouls.
Made in Japan, Last Room is both fiction and documentary. The occupants of the love-hotels and capsule-hotels tell their own intimate, dreamlike stories, interspersed with journeys through the archipelago's landscapes. Soon, these personal stories resonate with a collective history: that of Gunkanjima, the abandoned ghost island of Nagasaki, and then that of Japan as a whole.
This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.
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