Mirrors of Bergman (2015)

A woman tries to exonerate her brother's murder conviction by proving that the crime was committed by a supernatural phenomenon.

Dorothy, saved from a psychiatric experiment by a mysterious girl, finds herself back in the land of her dreams, and makes delightful new friends, and dangerous new enemies.

Frankenstein, a young medical student, trying to create the perfect human being, instead creates a misshapen monster. Made ill by what he has done, Frankenstein is comforted by his fiancée; but on his wedding night he is visited by the monster.

As her marriage to decorated war hero Oliver draws near, well-heeled Diana moves into an apartment within an otherwise unoccupied, sprawling London house where she starts to experience strange and terrifying nightmares. But are these troubling night terrors merely the symptom of an unsettled mind, or the sign of something far more sinister at work? Hounded by a pair of sleazy journalists, Diana soon crosses paths with American tourist Jenny, who appears to have a strange connection to the foreboding house and its dark past.

A focuses on 1957, one of the most prolific years for the Swedish director. During the year he shot two films, opened two of his most celebrated films (The Seventh Seal and Wild Strawberries), and produced four plays and a TV movie while juggling with a complicated private life.

Preceding her death a young woman relives her life in a mirror world, giving her the chance to fight her killer.

In the sixties, Swedish filmmaker Ingmar Bergman (1918-2007) built a house on the remote island of Fårö, located in the Baltic Sea, left Stockholm and went to live there. When he died, the house was preserved. A group of very special cinephiles, came from all over the world, travel to Fårö in search of the genius and his legacy. (An abridged version of Bergmans video, 2012.)

Tommy finds a cursed mirror and a diary in an attic in the new house they moved in. The mirror starts to give Tommy horrible and gruesome visions as his crush keeps rising from the dead.

A visual essay that highlights top-down shots from Wes Anderson's filmography.

A newlywed couple checks into an old hotel in New Orleans where the wife begins having dreams in which she encounters a sinister group of people who seem to want her for some nefarious purpose. When people around her start dying, she realizes she is not dreaming.

When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). This momentary suspension between death and life is partly what makes Hitchcock the indisputable master of suspense.

Four of Sweden's most innovative choreographers travel to Ingmar Bergman's home on Fårö to explore and get inspired. The result is a unique contemporary dance film.The renowned Swedish choreographers Alexander Ekman, Pär Isberg, Pontus Lidberg and Joakim Stephenson, with principal dancers Jenny Nilson, Nathalie Nordquist, Oscar Salomonsson and Nadja Sellrup from the Royal Swedish Ballet, interpret Ingmar Bergman through four unique dance performances reflecting on human relations and intense feelings. The dances are linked together with images of the epic natural beauty of Fårö and Bergman's poetic home Hammars, including the voice of the master himself - Ingmar Bergman - revealing his thoughts about movements and music.

People constantly appear walking through passageways in the films of Japanese filmmaker Yasujirō Ozu (1903-63). His art resides in the in-between spaces of modern life, in the transitory: alleys are no longer dark and threatening traps where suspense is born, but simple places of passage.

As Alex struggles with disturbing hallucinations, his wife Vera tries to help, until they both experience their own profound revelations.

Cleverly conceived and artfully edited, Christian Marclay's 7 1/2-minute video, Telephones, comprises a succession of brief film clips that creates a humorous narrative of its own in which the characters, in progression, dial, hear the phone ring, pick it up, converse, react, say goodbye and hang up. In doing so, they express a multitude of emotions--surprise, desire, anger, disbelief, excitement, boredom--ultimately leaving the impression that they are all part of one big conversation.

Dylan and Tracy's relationship comes into question in the bathroom at a party.

A supercut of television’s The First 48. (Aaron Valdez)

Her guerilla friends find out that Sakîne has never seen herself in a mirror. So they go on the quest to transport a tall mirror up into the mountains.