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Poster for Forget to Remember

2018 · ★ 1.0 (1)

Dina's carefree life changes with the return of the ex-husband from the prison. She has a new family and his parish does not fit into Dina's life. The inevitability of choice. Inability to understand another...

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Poster for Dos Pés à Cabeça

— · ★ 0.0 (0)

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Poster for Venha Ver o Pôr do Sol

2022 · ★ 9.0 (2)

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2021 · ★ 0.0 (0)

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Poster for The Greek Bar Jacket

2022 · ★ 0.0 (0)

Filmmaker Marianna Economou was given complete carte blanche to follow the conceptualization and realization of the Dior Cruise 2022 collection by Maria Grazia Chiuri. The result is 'The Greek Bar Jacket', an all-encompassing and yet intimately personal exploration of the collaborations, influences, moments and emotions that have made this Greece-inspired collection so unique. Highlighting the specialized savoir-faire of a number of Greek artisans along with that contained in the House's own ateliers, it also reveals the role played by the art and architecture of antiquity in this cross-cultural exchange.

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Poster for Behind the Mirror

2020 · ★ 5.0 (1)

Sometimes a day can begin with ordinary shopping and end with a deadly trap. No one had imagined how terrible this day would be, and what would be reflected in the sinister mirrors that adorn the walls of the boutique.

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Poster for Una cartera

2022 · ★ 5.0 (1)

Based on the reflection on the handbag as an accessory and gender identifier throughout history, this short film reflects on the irrationality of attacks against the LGBTI+ community.

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— · ★ 0.0 (0)

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Poster for death by fantasies by mirrors

2022 · ★ 0.0 (0)

In keeping with her usual exploratory, material approach to images and sound, Charlotte Clermont has created a mosaic film, shot on Super 8 and 16mm stock, which she develops by hand and then augments with coloured ink. The camera takes in objects, plants, a landscape, bodies, a stretch of water, the air, wind. The scenes are short, often framed as close-ups. This unfurling of furtive moments, enigmatic spaces and blazing light plays out like a series of disorientations, sustained by a soundtrack that is every bit as rich and sensual.

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Poster for Who Is Afraid Of Ideology? Part 4 Reverse Shot

2022 · ★ 0.0 (0)

A prospective wish is announced at the very beginning: "Imagine a land without ownership". Ownership? Since when? How? Where? With which implications? This is what Marwa Arsanios endeavours to discover in the fourth part of her meticulous ongoing project whose generic title is Who Is Afraid of Ideology? After documenting feminist experiments of community autonomy in Lebanon, Kurdistan and Syria (Who Is Afraid of Ideology? I&II, FID 2019), Marwa Arsanios ventures a hypothesis in the form of speculative fiction, from a remote piece of land in Lebanon, a cut in a stone quarry. In this small piece of land, a few sidekicks make that postulate, and slowly share stories of domination and exploitation. This land has a complicated administrative, legal, geological and biological history. (Nicolas Feodoroff - FIDMarseille)

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Poster for Eye Of The Beholder

— · ★ 0.0 (0)

Beauty is as powerful as a drug and our eyes are addicted to it. Due to an electronic device in her head, Nora grew up not knowing if she was attractive or not. At 18, she goes to Rio de Janeiro, turns off the device and discovers that she is extremely beautiful. Nora becomes enamored with herself that she loses sight of reality, entering a dangerous path with devastating consequences.

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Poster for The Sad Story of Knave

2006 · ★ 0.0 (0)

A stingy husband willingly hits his wife. She takes revenge, aided by her lover.

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Poster for Nel mare ci sono i coccodrilli

2022 · ★ 7.0 (1)

Animated film inspired by the true story of little Enaiatollah Akbari, which tells the story of a child fleeing from the Taliban.

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Poster for Floating Leaf

2002 · ★ 0.0 (0)

The leaf is floating slowly in the dark with the song on the radio out of tune. (S.K.)

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2022 · ★ 0.0 (0)

Virtual Mirages is a trilogy that includes three music and dance films written and directed by Marikki Hakola. The films have been digitally visualized using virtual staging.

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Poster for The Dissident and the KGB General

1998 · ★ 0.0 (0)

The incredible friendship between Semyon Gluzman, a psychiatrist and former dissident, and General Volodymyr Prystayko, the deputy director of the Ukrainian Security Service, who was in charge of keeping Gluzman's files in the KGB archives.

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Poster for Paparazzi

2015 · ★ 0.0 (0)

Jun-ho's grandfather sold cigarettes to a guy unaware that he was a high school student. The grocery store has suspended sales for 2 months but family decided to give up the store. Jun-ho later learned that it was his best friend's father who reported his family's store for reward money. He decided to take revenge.

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Poster for Kū Kanaka/Stand Tall

2017 · ★ 0.0 (0)

This documentary profiles the late Kanalu Young whose dive into shallow water at age 15 left him quadriplegic. Angry and defiant, he begins to change when he discovers an untold story of Hawaiian history which fires him up to become a leader of his people.

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Poster for El Bohío

2019 · ★ 0.0 (0)

Portrait of El Bohío, a traditional structure recreated in the backyard of the home of Luis Muñoz Marín, the first Puerto Rican elected governor (1948-1964). Infamous as the place where he hosted politicians and intellectuals. Filmed after the passing of Hurricane María, which tore off the straw roof and ravaged the trees around it to reveal modern, cement walk-ups behind it. Shot on 16mm film and hand-developed with Anamú, a medicinal plant native to Puerto Rico.

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Poster for What Rules the Invisible

2022 · ★ 0.0 (0)

What Rules The Invisible is a short film that upturns archival travelogue footage shot in Hong Kong. Spanning reappropriated amateur footage across the 20th century, the sojourner’s gaze—distanced, distorted and even voyeuristic—shows tropes and patterns. The same shots repeat across decades, from landscape to cityscape to street scenes. Sometimes the footage reveals more about the traveler himself, such as a sequence where the camera curiously tracks the hips and bare legs of women wearing cheongsam crossing a busy intersection. Sia’s essay film studies these travelogues to find indignant subjects glaring back at the camera, or figures on the edges of the frame who appear pixelated and phantasmic, showing the patina of the footage’s circulation. Meanwhile, intertitles intermittently punctuate this footage with an oral history of Hong Kong, as told by Sia’s mother who describes colonial police, excrement and hauntings in Kowloon of the postwar era.

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