Social & External
er selbst
Johnny Knoxville and his band of maniacs perform a variety of stunts and gross-out gags on the big screen for the first time. They wander around Japan in panda outfits, wreak havoc on a once civilized golf course, they even do stunts involving LIVE alligators, and so on.
Jackass Number Two is a compilation of various stunts, pranks and skits, and essentially has no plot. Chris Pontius, Johnny Knoxville, Steve-O, Bam Margera, and the whole crew return to the screen to raise the stakes higher than ever before.
Produced by Alfred Higgins Productions with assistance from the University of Missouri-Columbia’s Academic Support Center Film Library, Keep America Beautiful, Inc., and Keep Los Angeles Beautiful, Inc., the 1963 short film A Land Betrayed examines the various ways people have spread the “cancer of ugliness” across America and offers call-to-action solutions to combat the nation-wide problem.
The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a 'pee' gun on themselves, having a mini motor bike fracas in the grocery mall, a sperm test, a portly crew member disguised as King Kong, as well as include three episodes of their hilarious adventures in India.
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.
Something takes us underground, where gods and monsters are active, amid the ruins of a world they move around with their innumerable hands. Inspired by Fritz Lang and Richard Wagner, Remains is a daydream.
Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.
The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.
EMPATHY (a digital love letter) is a short essay documentary, a heartbreaking comedy about a break-up, an attempt to concretize emotion and evoke empathy from a writer’s approach. After getting her heart crushed in a relationship, a woman writes a letter to the man she loves for a simple reason—to evoke his empathy towards her. Knowing the premise of human emotions, the woman starts her letter with her own life stories, follows with a blunt confession of affection, and ends with a cursing when she can’t handle the emotions anymore.
Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.
A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.
Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
Artists like Robert Smithson, Donald Judd and Peter Hutchinson borrowed liberally from science fiction film and literature in their work. This collage treats the marvellous, seemingly indestructible, objects of mid-century science fiction cinema as artworks in their own right.
Somewhere between Sri Lanka and the island of New Guinea, in the upper reaches of the Amazonia jungle, there is rumoured to be a lost tribe of cannibals. Assembled out of Italo cannibal mondo movies, Hollow Jungle documents their rituals, sourcing their power in narrative repetitions and analogies, before structurally locating them in the prurient pathologies of certain pseudo-ethnographies.
Photos, animation, and music illustrate the story of the Beatles.
A battle between nature and culture, between organic rye-grass and artificial turf. American football is played on rectangular fields, 120 yards long and 160 feet wide. These dimensions defined the framework for this film. Made with images found in Google Earth. With music by Michel Banabila.
Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fueled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley and Dan Colen before his death by heroin overdose in 2009. Drawing from Snow’s unforgettable body of work and involving archival footage, Cheryl Dunn’s exceptional portrait captures his all-too-brief life of reckless excess and creativity.
Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.
"plant portals: breath" is an experimental meditation on the unspoken history many queer and trans people of colour carry daily, connecting bumblebees, colonial trauma, alternate universes and the complicated concept of "rest" to ask: Can nature heal us? Shot entirely on an iPhone, the film is intentional in imagining what is possible, and manifests a reality rooted in mindfulness.“
