beer cans under my bed
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
A young girl turns into an A-List celebrity over night when her private journal is accidently published and becomes a best-seller.
Nanni Moretti recalls in his diary three slice of life stories characterized by a sharply ironic look: in the first one he wanders through a deserted Rome, in the second he visits a reclusive friend on an island, and in the last he has to grapple with an unknown illness.
The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”
Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
Filmmaker Jonas Mekas films 160 underground film people over four decades.
For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.
A filmed diary which chronicles two visits to the Olivas, a family of Spanish beekeepers from Salamanca, at the time of the honey harvest, in August and September. Their work and their itinerant life are seen from a friend's point of view.
A letter of love to my past self who discovered himself.
It has been a year since Juliette’s sister has passed and she hasn’t been doing so well since that day, but she must learn how to be kind to herself.
It compiles more than twenty years of passionately recorded “pictures from life” captured on super 8, that Vukica Djilas shot from 1970 to late 1990s.
Footage from summer of 2018 that explores the passing of time regarding the little things in life.
A passionate foodie loses his beloved hawker stalls to corporate pressure, he reluctantly turns to processed food he calls 'trash' in a moment of deep sorrow and disappointment as he grieves the loss of his favourite food stalls.
Somewhere between a diary and a filmed letter made while Caroline Champetier was shooting Benoît Jacquot's film L'Intouchable in India.
The director goes to the city of Cuenca in Spain, Castilla-La Mancha for Erasmus. In this process, he records his experiences, days, and trips with a digital handheld camera and Super 8mm. A visual diary of the director is documented by witnessing the 2022 spring period in Spain and Portugal with images.
An epic portrait of the New York avant-garde art scene of the 60s.
Two teen boys living in an isolated house in the mountains contemplate their existence while maintaining a video diary of their daily lives.
An intimate glimpse into 3 years of serene moments, compiling video, polaroids and other things that were lying around when editing.
A loose collection of scenes in Hong Kong shot over a five-year period, this film begins with the Umbrella Movement in 2014 and ends right before the summer of 2019, when large-scale social unrest and violent resistance erupted. The everyday scenes capture the ambience and the landscape of change in the city, standing as a quiet prelude to the ensuing conflicts.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.