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Four landscape shots containing a replica of Ted Kaczynski’s cabin, one shot per season. On the soundtrack, Benning reads extracts from Kaczynski’s journals more
Four landscape shots containing a replica of Ted Kaczynski’s cabin, one shot per season. On the soundtrack, Benning reads extracts from Kaczynski’s journals from the early 1970s, recording his progress at hunting and gathering, and his connection to the Montana wilderness; a hand-written folded sheet of paper detailing his acts of “monkey wrenching” and first attempts at planting bombs; two notebooks written in numerical code in 1985 and decoded by Benning in 2011; two excepts from Industrial Society and Its Future by "FC" (aka the Unabomber Manifesto) as published in The New York Times and The Washington Post in 1995; and a 2001 interview with Kaczynski by J. Alienus Rychalski, special correspondent for the Blackfoot Valley Dispatch. 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
Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR more
Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film. close
In a quiet village in southern China, Fang Xiuying is sixty-seven years old. Having suffered from Alzheimer's for several years, with advanced symptoms more
In a quiet village in southern China, Fang Xiuying is sixty-seven years old. Having suffered from Alzheimer's for several years, with advanced symptoms and ineffective treatment, she was sent back home. Now, bedridden, she is surrounded by her relatives and neighbors, as they witness and accompany her through her last days. close
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
Joaquim Pinto has been living with HIV and VHC for almost twenty years. “What now? Remind Me” is the notebook of a year of clinical studies with toxic, more
Joaquim Pinto has been living with HIV and VHC for almost twenty years. “What now? Remind Me” is the notebook of a year of clinical studies with toxic, mind altering drugs as yet unapproved. An open and eclectic reflection on time and memory, on epidemics and globalization, on survival beyond all expectations, on dissent and absolute love. In a to-and-fro between present and past memories, the film is also a tribute to friends departed and those who remain. close
A film director and her muse who was a student activist in the 1970s, a waitress who keeps changing jobs, an actor and an actress, all live loosely connected more
A film director and her muse who was a student activist in the 1970s, a waitress who keeps changing jobs, an actor and an actress, all live loosely connected to each other by almost invisible threads. The narrative sheds its skin several times to reveal layer upon layer of the complexities that make up the characters' lives. close
Finding himself in a house in the north of Iran by the Caspian Sea, the director picked up his handheld DV camera and began filming the seemingly anodyne more
Finding himself in a house in the north of Iran by the Caspian Sea, the director picked up his handheld DV camera and began filming the seemingly anodyne events happening on the 500 metres of beach in front of his house—a piece of wood toyed with by the waves, people walking by the sea, indistinct shapes on a wintry beach or noisy ducks. close
A documentary about how a dominant cultural and demographic institution both sustains their traditional activities and adapts to the digital revolution.
A documentary about how a dominant cultural and demographic institution both sustains their traditional activities and adapts to the digital revolution. close
The Popular Front wins elections, the Spanish Civil War begins, and Hitler and Stalin are manipulating and spying. The brilliant exile, Fiodor Voronin, more
The Popular Front wins elections, the Spanish Civil War begins, and Hitler and Stalin are manipulating and spying. The brilliant exile, Fiodor Voronin, a general at 20, is the deputy at the White Russian Military Union, probably slated to replace the aging Général Dobrinsky soon. Fiodor's Greek wife, Arsinoé, paints and stays away from politics, befriending Communist neighbors. Her health declines; the attentive Fiodor arranges care and, against the backdrop of Stalin's Great Purge, considers his options. He plays a chess game in which love of country, love of Arsinoé, ideology, petty jealousies, and the machinations of power roil in matters of life and death. close
A meditation on civilization. July, 2001: friends wave as a cruise ship departs Lisbon for Mediterranean ports and the Indian Ocean. On board and on day more
A meditation on civilization. July, 2001: friends wave as a cruise ship departs Lisbon for Mediterranean ports and the Indian Ocean. On board and on day trips in Marseilles, Pompeii, Athens, Istanbul, and Cairo, a professor tells her young daughter about myth, history, religion, and wars. Men approach her; she's cool, on her way to her husband in Bombay. After Cairo, for two evenings divided by a stop in Aden, the captain charms three successful, famous (and childless) women, who talk with wit and intellect, each understanding the others' native tongue, a European union. The captain asks mother and child to join them. He gives the girl a gift. Helena sings. Life can be sweet. close
A man is wrongly jailed for murder while the real killer roams free. The murderer is an intellectual frustrated with his country’s never-ending cycle more
A man is wrongly jailed for murder while the real killer roams free. The murderer is an intellectual frustrated with his country’s never-ending cycle of betrayal and apathy. The convict is a simple man who finds life in prison more tolerable, when something mysterious and strange starts happening to him. close
A story inspired by the life of one of the most remarkable figures in Brazilian popular culture, João Francisco dos Santos (1900-1976). In turn, bandit, more
A story inspired by the life of one of the most remarkable figures in Brazilian popular culture, João Francisco dos Santos (1900-1976). In turn, bandit, transvestite, street fighter, brothel cook, convict and father to seven adopted children, dos Santos – better known as Madame Satã – was also a notorious gay performer who pushed social boundaries in a volatile time. close
From its distinctive neighborhoods to its architectural homes, Los Angeles has been the backdrop to countless movies. In this dazzling work, Andersen more
From its distinctive neighborhoods to its architectural homes, Los Angeles has been the backdrop to countless movies. In this dazzling work, Andersen takes viewers on a whirlwind tour through the metropolis' real and cinematic history, investigating the myriad stories and legends that have come to define it, and meticulously, judiciously revealing the real city that lives beneath. close
A hundred and fourteen famous Iranian theater and cinema actresses and a French star: mute spectators at a theatrical representation of Khosrow and Shirin, more
A hundred and fourteen famous Iranian theater and cinema actresses and a French star: mute spectators at a theatrical representation of Khosrow and Shirin, a Persian poem from the twelfth century, put on stage by Kiarostami. The development of the text -- long a favorite in Persia and the Middle East -- remains invisible to the viewer of the film, the whole story is told by the faces of the women watching the show. close
Lyrical and powerfully personal essay film that reflects on the deaths of her husband Lou Reed, her mother, her beloved dog, and such diverse subjects more
Lyrical and powerfully personal essay film that reflects on the deaths of her husband Lou Reed, her mother, her beloved dog, and such diverse subjects as family memories, surveillance, and Buddhist teachings. close
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate more
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection. close
