2003 · ★ 0.0 (0)
Anne-Marie Schneider work from 2003
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2013 · ★ 0.0 (0)
A drunken man and a woman battered by her husband, and her husband gather and make a fuss in the police substation. A young policeman who just broke up with his girlfriend cannot afford to listen to the drunken man. A middle-aged policeman is confused while inquiring the battered wife and her husband who can't understand why his wife left him. The police substation is lit up like a lighthouse at the corner of the city people are confined in, and the wave of the people's episodes flows like a river.
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2021 · ★ 0.0 (0)
People fall into water. Seen from underneath the surface of a lake, those men and women, fully dressed in office attire, move around trying to find orientation while following and bumping into each other. Thrown into this involuntary situation, their movements are at times softly flowing, elegant and caring, but change in the next moment into fighting against each other and for air. They are submerged in an environment which is removed from our daily reality associating sparkling fairy-tale dreams and horrible visions of drowning at the same time.
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2021 · ★ 0.0 (0)
During the enhancement of the audiovisual heritage of the Embassy of Mexico in Argentina we found promotional tourist material in different media. I chose some 16mm film titles published 1968–72. At that time, the National Tourism Office commissioned and distributed these short films emphasizing modernity and comfort in contrast to the exotic and almost pristine nature of our tourist destinations. This new wave of mass tourism to underdeveloped countries, which would become one of the main sources of income for Mexico and the Caribbean, was what the Cuban historian Manuel Moreno Fraginals called “the fourth plantation,” alluding to economic practices of monoculture and neocolonialism. This is a compilation of the most interesting moments to review the speeches of that time.
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2021 · ★ 10.0 (1)
When a girl who has spent 1,489 days trying to convince herself that she deserves to be loved gives up.
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2021 · ★ 0.0 (0)
A place that seems out of time for everyday life, a long line of women waiting. And inside a room, three of them sitting... a cello piece transports them to their own experience of pleasure, body and eroticism. An exploration from a female perspective of the audiovisual and its ability to produce pleasure beyond narrative schemes. Female pleasure, liberation, feminism, gender, appropriation of the body, sexual freedom, women, cello, music, old age.
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2021 · ★ 0.0 (0)
The film about Merle Karusoo, the Estonian stage director and collector of local biographies, takes a look at the stories of her own life, reflecting on her personal beliefs and the role of remembering throughout life.
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2014 · ★ 0.0 (0)
A day in a children’s camp in a rural area during the Khmer Rouge regime in Cambodia. Five young boys decide to have a ‘party’ with rice they have ‘stolen’ from the camp store, grain by grain day by day. In three months the rice collected is the size of a fist and the boys can’t withstand waiting any longer. They cook the rice at the lakeside, taking care not to be seen. But when they see the cooked rice they are mesmerised by the scent and the taste and don’t notice that they are spotted by a Khmer Rouge cadet. As a consequence the camp Commander sends them to be ‘re-educated’ (killed) as an example to the rest of the boys.
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2021 · ★ 0.0 (0)
Wake and soil, skin and voice: Hope Strickland's film locates a legacy of slavery and colonial exploitation beneath the archive's official chronicle, in the deep historical memory of the body. "If I could name you myself (I would hold you forever)" sings an alternate history of resistance—familial, elemental, and sensuous.
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2021 · ★ 0.0 (0)
The timeline and vertical aspect ratio of social media set the formal parameters for Tiffany Sia’s essay film, which follows the image trail of a single event in Hong Kong from the 2019 protests. Reckoning with this event, a relentless voiceover reframes archival media salvaged in the midst of disappearance and erasure, drawing upon a traumatic media memory, summoning ghosts and occult forces alongside disinformation and rumor.
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In an alchemy of material and matter, Katrina Daschner stages queer structures of desire: architectural details, bodies and materials are eroticized and staged as fetishes, animated and inanimate materials merge with the performances of women.
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2016 · ★ 0.0 (0)
The gestures of these old Cordovan yard caretakers come from a transmission of feminine wisdom in working with plants that refers even to the oldest mythologies. When the cinema began, the Andalusian feminine also incorporated in its young actresses the relationship with patios and flowers as a context of the archetype. An exercise in viewing between the gestures and the times of a southern female figuration.
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2021 · ★ 0.0 (0)
About two sisters chatting one night before going to bed, or is their conversation a dream?
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2021 · ★ 0.0 (0)
The day after her 8th birthday, Jackie suspects that she is turning into a vampire by noticing her parents following new life protocols that forbid her to come out into the open. Confused by the behavior of her family, the girl creates her own survival plan due to lack of information about the real reason for the confinement; the covid 19 pandemic.
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2021 · ★ 0.0 (0)
After twenty years abroad, Natalya returns to her homeland and tries to change life in her native village - to repair roads, remove garbage and build a first-aid post. Will the Western experience take root in its native soil?
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2021 · ★ 0.0 (0)
A documentary journey-essay about memory and home. The film's director Daria Likhaya returns to her childhood home and her trip is followed by veracious stories. A spotted dress, a KAMAZ left in a courtyard, a woman's face in the window—every detail becomes a source of memories. The impressions of strangers are intertwined and mixed, the border between the virtual and the real becomes blurred.
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