Alaska
Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.
Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.
A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
The cinematic kiss is probably one of the most archetypical images to be found in film history. It is usually a reassuring and sometimes climactic element in a movie's storyline. Not in Nicolas Provost's 'Gravity' though: with stroboscopic effects, more than a dozen kissing scenes, most from stereotypical 1950s romantic dramas, are edited together and superimposed. Narrative is subverted as the kissing is isolated from its context entirely; the action slows down and flickers back and forth. Every now and then, shots from different films overlap and match; protagonists merge and diverge again a few seconds later. The sugary and dramatic soundtrack of romantic film music contrasts with the deconstructed images; together, they form a dazzling 6-minute vertigo where love becomes a passionate battle.
For his final project for film class in college, Kevin Morris, with the help of his girlfriend Julie and his roommate Jay, is making a documentary in which ex-couple share their breakup stories individually. When he comes across a disturbing secret involving one of his subjects (Ashley), he goes against his better judgment and shares it with Ashley's ex-boyfriend, James. But when the results are anything but satisfying, things start to get dangerous as James acts more ominous and it seems the lives of Kevin, Julie, Jay, and Ashley are soon in question.
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
Experimental feature about two young men trying to make a film.
Far in the future, a woman wakes up in an escape pod on the surface of an empty alien planet dotted with the remains of an ancient alien civilization. Faced with isolation and the threat of death from the toxic night air, she must travel across the barren landscape and find a way to send a message home. She copes with alternating emotions of hope and loneliness and encounters semblances of human presences that push and pull these feelings within her. All the while she is overshadowed by the immense monolith on the horizon, a leftover of the alien civilization that existed on the planet countless years before. Her journey transforms over time, evolving from a focus on her character in the face of impending death to a study of absence and presence, transience and endurance. Her journey towards the crash site and the giant monolith becomes a race against time as she seeks a way to leave her mark and not be forgotten.
A documentary about the crowd of people that commingle throughout the 3.5km of the Minhocão, an overpass in the central region of São Paulo, built during Brazil's military dictatorship.
After missing a train, Danny, a perpetual student, and his Spanish boyfriend must wait in an empty train station with two homophobic Czechs, who do not realise that Danny understands their every word.
In 1983, yacht sailor Will Parker leads an American crew financed by millionaire Morgan Weld to defeat during the America's Cup race against an Australian crew. Determined to get the prize back, Will convinces Morgan to finance an experimental boat designed by his ex-girlfriend Kate's new beau, Joe Heisler. When the boat is completed, the Americans head to Australia to reclaim the cup.
Sanaa (23) returns to Versailles, the place where she grew up, and in an attempt to reconnect with her little sister Rana (15), she promises her, to go on a journey to the seaside for the first time. A trip they've always wanted to make together.
Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.
An experimental and critical view on the decadence of Honduran society. It practically has no narrative structure, as it plays out as a day-in-the-life-of the eponymous Ángel, a kid who's a shoe-shiner.
In December, 1941, using music by Stravinsky, this film provides a reaction to the Japanese attack on Pearl Harbor. An egg is smashed by a hammer; red color with white and then blue dominates the frame. Blue paint runs; small bulbs float. The dark colors spread. White, red, blue, and black dominate the frame. Then comes fire. The bulbs burn and break. A broken bulb's filaments are exposed.
A succession of slices of life paints a general portrait of the city of Rio de Janeiro and its inhabitants; their pace of life, urban patterns, the weight of concrete, ethnic mix, body worship, religion, work, leisure.
Beaches are closed during the COVID-19 pandemic. Nevertheless, the middle class must survive the tropicals.
Munich, 1968: a period of liberation, student revolts, state repression. Amidst the restlessness, chemistry student Robbie meets the Irish cello player Nancy. They feel compelled to pursue a passion in spite of their careers. But does romantic love have a place in such convoluted, contesting times?
A rabbi is murdered. Detective Llonrot is called in on the case and looks for a 'rabbinical explanation' for the murder. Other murders are committed and deliberate clues left in chosen locations. Llonrot, convinced he is on the trail of a 'mystical intrigue' is lured to the 'crime scene' when the tables are turned by his nemesis, the master criminal Red Scharlach.
Elaborate petal-like and multicolored flowers rising in white space until the whole field is as if crushed by floral designs in madly-swift mixtures of every conceivable previous shape from the Persian Series. Preserved by the Academy Film Archive in 2013.
Inside the claustrophobic scenery of a fancy apartment in the city of Frankfurt three men and a woman lock themselves in for ten days. Oskar and Julia are a couple. They have sex and let themselves be filmed. Benjamin and Bastian are behind the camera, trying to get pictures of absolute intimacy. Closeness as it can only be found among lovers.