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In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these more
In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands.
Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from. close
An abandoned seaside resort. The shooting for a fantasy film about the end of an era wraps up. Two women, both members of the film crew, one an actrice, more
An abandoned seaside resort. The shooting for a fantasy film about the end of an era wraps up. Two women, both members of the film crew, one an actrice, the other a director, Apocalypse and Joy, are on the verge of concluding their love affair. close
A woman is hired as a debt collection agent in a call center. Under pressure from her team leader, she tries to adapt to her working conditions. After more
A woman is hired as a debt collection agent in a call center. Under pressure from her team leader, she tries to adapt to her working conditions. After hearing a tragic story, she becomes interested in the lives of people she has been speaking to on the phone. close
The life, the problems, the hopes of the ragazzi of the suburbs of Rome. Ignored by the city, these young men spontaneously express their vitality, their more
The life, the problems, the hopes of the ragazzi of the suburbs of Rome. Ignored by the city, these young men spontaneously express their vitality, their violence, their willingness to put themselves at risk. They are at the center of "Ragazzi di vita", the first novel by Pier Paolo Pasolini, author of the text of this documentary. close
Whilst the master of the house is away, the maid gets a visit from her family. Together, they attack her employer's bourgeois residence with ardent zeal and rustic technology.
Whilst the master of the house is away, the maid gets a visit from her family. Together, they attack her employer's bourgeois residence with ardent zeal and rustic technology. close
This film details the dismantling of the old railway Siaurukas in Lithuania and the construction of its new modern replacement. The old railway and the more
This film details the dismantling of the old railway Siaurukas in Lithuania and the construction of its new modern replacement. The old railway and the new railway become the symbol of the clash between the archaic rural Lithuania and Soviet industrialization. The film was often considered as an expression of the archetypes of Lithuanian character. close
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither more
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither film nor video. Highly stroboscopic and hallucinatory, these kinetic performances result in otherworldly spaces and plays of near-abstraction and suggestive imagery. Mountaineer Spinning features an evocative musical score. This work highlights Jacobs' relentless experimentation with the very fabric of projected light. close
American avant-garde master Ernie Gehr’s stunning Waterfront Follies (USA) is a work of extended sublime that presents a view of the Brooklyn harbour more
American avant-garde master Ernie Gehr’s stunning Waterfront Follies (USA) is a work of extended sublime that presents a view of the Brooklyn harbour as it is continuously interrupted by the flow of human interaction. The film’s structure and soundtrack work as a reminder of the constant intersections between life’s impulsiveness and beauty. - Peter Knegt close
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, more
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, and bringing together subject matter not ordinarily associated, a deeper sense of impermanence and mystery can open. The images are as much pure-energy objects as representation of verbal understanding and the screen itself is transformed into a “speaking” character. The “sadness” referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood. N. D. close
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