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Spanish filmmaker Víctor Erice talks about the first movie he probably ever saw, Roy William Neill's The Scarlet Claw (1944), starring Basil Rathbone more
Spanish filmmaker Víctor Erice talks about the first movie he probably ever saw, Roy William Neill's The Scarlet Claw (1944), starring Basil Rathbone as Sherlock Holmes. The remembrances of such a formative cinematic experience leads him to recall the dark days after the end of the Spanish Civil War, to confess the many fears stalking children and to reflect on the nature of memory itself. close
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are more
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males. close
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement.
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement. close
Jean-Marie Straub's first film after the death of Danièlle Huillet is a love poem to her. Le Genou d'Artémide is based on Cesare Pavese's "Dialogues of more
Jean-Marie Straub's first film after the death of Danièlle Huillet is a love poem to her. Le Genou d'Artémide is based on Cesare Pavese's "Dialogues of Leuco", which had already been adapted by Straub et Huillet as Ces Rencontres Avec Eux (2006). close
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting more
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting rich diagonals in the early morning or late afternoon. Each shadow is a subtle balance of stillness and movement; it shows the vital instability of space. Its special quality opens a passage to the subjective; a voice within the film speaks to memory. The walls are screens through which I pass to the inhabited privacy. We experience a place through the perspective of where we come from and hear another's voice through our own acoustic. The sense of place is never separate from the moment." – R.B. close
"As Filhas do Fogo" follows the story of three young cape-verdean sisters upon their arrival at a foreign European port, in an attempt to escape another more
"As Filhas do Fogo" follows the story of three young cape-verdean sisters upon their arrival at a foreign European port, in an attempt to escape another devastating eruption of the volcano Fogo. In this unknown country, they roam, hand in hand, evoking their secret fears through music and singing. close
The 8-year-old Aida lives in an apartment in the Parisian suburb. The daily life of Aida and the whole family is overwhelmed when her father comes back more
The 8-year-old Aida lives in an apartment in the Parisian suburb. The daily life of Aida and the whole family is overwhelmed when her father comes back from Senegal, their country of origin. Actually, he did not come back alone. He returned with the young Senegalese Rama whom he introduced as his second wife. Aida is very sensitive to her mother's distress. She decides then to get rid of the new visitor. close
A piece of blank white paper placed and pulsating before a camera’s lens attracts a crowd of passers-by in Tunis, the simplicity of the conceit slowly more
A piece of blank white paper placed and pulsating before a camera’s lens attracts a crowd of passers-by in Tunis, the simplicity of the conceit slowly opening up to a profound reflection on the nature of cinema itself (both its creation and its collective viewing) while tracing the forms of a particular social and political landscape. close
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow more
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us. close
An immersive virtual reality documentary experience about the risks faced by blacks on the road in mid 2Oth Century America, and the safe spaces as listed more
An immersive virtual reality documentary experience about the risks faced by blacks on the road in mid 2Oth Century America, and the safe spaces as listed in the famous guide, The Green Book, where they could eat and sleep. close
A film about Chris Kennedy’s Watching the Detectives (2018), a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer.
A film about Chris Kennedy’s Watching the Detectives (2018), a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer. close
Daniel is going to a party. When he rings the doorbell, he is asked to borrow sugar from the neighbor. However, it doesn't turn out to be simple, as everyone more
Daniel is going to a party. When he rings the doorbell, he is asked to borrow sugar from the neighbor. However, it doesn't turn out to be simple, as everyone seems to mistake him for someone else. And speaking up isn't always the easiest thing to do. close
Conceived as a reflection on the theme of time at the turn of the millennium, "Dans le noir du temps" functions as a Pandora’s box which hides all the more
Conceived as a reflection on the theme of time at the turn of the millennium, "Dans le noir du temps" functions as a Pandora’s box which hides all the horrors of the world: the last moments of youth, fame, thoughts, memory, love, silence, history, fear, eternity and, of course, cinema. close
A sad child is going to pay a visit to her mother in prison. Her solitude is immense. Sitting in the backseat, she looks on in silence outside the window more
A sad child is going to pay a visit to her mother in prison. Her solitude is immense. Sitting in the backseat, she looks on in silence outside the window while the landscape passes in front of her eyes. close
Tarachime is a documentary film which observes 'life' through childbirth. Kawase Naomi, a film director working under the theme of family, life and death, more
Tarachime is a documentary film which observes 'life' through childbirth. Kawase Naomi, a film director working under the theme of family, life and death, presents the bond of life through her own childbirth experience. "First, I was planning to film from the day I conceived a child and to the moment I gave birth. But I realized, while filming, that this is not the story of "one life." In the end, the film sublimed to a higher stage on which we can witness the knot tying one life with another." close
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films more
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films were originally commissioned for the Documenta 11 exhibition in Kassel, Germany in 2002. They were then screened in London by Artangel in the former Lumiere Cinema on St Martins Lane in the autumn of that same year. close
An exploration of the sensory experience of the TauTona gold mine in South Africa, showing migrant labourers working in dark, claustrophobic environments more
An exploration of the sensory experience of the TauTona gold mine in South Africa, showing migrant labourers working in dark, claustrophobic environments and the ear-splitting noise of drilling. The TauTona mine in South Africa, known as 'Western Deep' is the world's deepest gold mine. Employing more than 5,000 people, it operates twenty-four hours day. The film begins in complete darkness as the miners descend three-and-a-half kilometres underground. McQueen documents an intense work regime where the temperature can reach over ninety degrees celsius. Accompanied by jarring sounds created by the mechanical equipment, Western Deep is a hellish representation of labour that makes the silent resolve of the miners all the more powerful. close
18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst [3/60 Trees in Autumn], he shot his masterpiece 37/78 Tree Again. 18 years after more
18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst [3/60 Trees in Autumn], he shot his masterpiece 37/78 Tree Again. 18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1895 L'Arrivée d'un train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard! close
Slow Action, Ben Rivers’ first exhibition at Matt’s Gallery, is a post-apocalyptic science fiction film that brings together a series of four 16mm works more
Slow Action, Ben Rivers’ first exhibition at Matt’s Gallery, is a post-apocalyptic science fiction film that brings together a series of four 16mm works which exist somewhere between documentary, ethnographic study and fiction. Continuing his exploration of curious and extraordinary environments, Slow Action applies the idea of island biogeography - the study of how species and eco-systems evolve differently when isolated and surrounded by unsuitable habitat - to a conception of the Earth in a few hundred years; the sea level rising to absurd heights, creating hyperbolic utopias that appear as possible future mini-societies. This series of constructed realities explores the environments of self-contained lands and the search for information to enable the reconstruction of soon to be lost worlds. close
While he's receiving an enigmatic phone call from his girlfriend Francine, Thomas remembers the milestones of their relationship, from the very moment more
While he's receiving an enigmatic phone call from his girlfriend Francine, Thomas remembers the milestones of their relationship, from the very moment they met in a really strange way. A segment of “Paris, je t'aime” (2006). close