Glasswork (2022)

Siete chicas de instituto ven sus vacaciones chafadas cuando su profesor (Kiyohiko Ozaki) tiene que cancelar el viaje que tenía planeado realizar con ellas. Las cosas marchan incluso algo peor para Oshare (Kimiko Ikegami), una de las chicas, ya que recientemente su padre le ha presentado su nueva madastra (Haruko Wanibuchi), lo que no le ha hecho demasiada gracia. Mirando un álbum de fotos, Oshare se encuentra con la foto de boda de su madre a quien se la ve acompañada de su hermana (Yoko Minamida) quien nunca llegó a casarse ya que su prometido murió en la guerra. Oshare se pone en contacto con su tía y ésta la invita a ella y a sus amigas a pasar las vacaciones en su mansión en el campo. Cuando el grupo de chicas se presentan en la mansión, allí las recibe la tía de Oshare en sillas de ruedas y medio ciega. Muy pronto las chicas descubren que la mansión tiene vida propia.

A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors.

Consistent stylistic-thematic structures link and merge throughout the bewildering event chain. The distinction between organic forms and human artifacts is blurred by the visual style which is enigmatic without being ambiguous.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

Experimental film consisting of a single static shot of the Empire State Building from early evening until nearly 3 am the next day.

The primary motif of the documentary is the journey. A metaphorical journey, a spiritual journey, a tangible journey, a forest path, a road, a sidewalk, a drug trip, or a journey abroad. The director pastes together a collage of micro-stories of people and places that comment on the journey. Her documentary oscillates between playful absurdism, existentialism and existential questions, environmentalism, and social commentary. The dynamism and rhythm of the narrative are then determined by the jumps between different forms of video, such as analogue film, digital film, and mobile phone filming.

A poetic story of a proletarian couple’s relationship during the years of economic crisis and unemployment – of all the films directed by E. F. Burian, the film Chceme žít (We Want to Live, 1949) is probably his worst. The intention to create a powerful work of cinema that would combine modern means of expression with the ideological canons of socialist realism failed completely. Ježek and Tarnovski discovered these „shambles“ and tried to rebuild a structure out of the hopelessness and futility of life. Ježek has photochemically “transcribed” selected passages with the greatest possible degree of humility towards the work of the great avant-gardist, Tarnovski similarly makes the soundtrack visible. The improvised encounter of sound and image in dialogic mode can lead to various misunderstandings resulting in ambiguous compromise.

Un hombre se casa con una mujer, y ésta le es infiel. El hombre, por venganza, la asesina, siendo condenado a muerte... Aclamada película checa por su innovador sistema narrativo: todo el film está rodado al revés, comenzando por final y terminando con el principio, e incluso los diálogos están pronunciados a la inversa.

Following his kidnapping, Kyle must escape the forest before he’s killed by a vicious serial killer in a game of cat and mouse. After receiving a mysterious call about the disappearance of her brother, Anna must track him down before it's too late.

After a catastrophic global war, a young filmmaker awakens in the carnage and seeks refuge in the only other survivor: an eccentric, ideologically opposed figure of the United States military. Together, they brave the toxic landscape in search of safety... and answers.

Jakub Strach aka NobodyListen is a successful Czech DJ and music producer. A portrait of his life and work can be seen as a manifesto of the millennial club-going generation. After hundreds of shows and preparations for the upcoming, renowned Addict party, the DJ must deal with the consequences of inflicting a wound scarring his image. Footage from the club backstage mingles with scenes of everyday life in which NobodyListen ponders the dark sides of the club scene, like drugs and misogyny. During the shooting, the Covid pandemic strikes, revealing the insecurities of work in culture.

For this I used 3 different types of VHS static first, then I started messing with them, and when I was happy with the end result, I decided to shoot the whole thing on my monitor with my phone 3 different times, they're all shot in 720p 15 fps with varying shutter speeds. Then I superimposed the videos and exported the full project in 480p 400 kbps. The song is withoutu by SALEM. Obviously inspired by Stan Brakhage, got the inspiration to finish the project by watching the work of Audrey Robinovitz. Hope you get something out of this like I did :3

A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.

A 1950s Hollywood actress struggles with addiction, mental illness, and intrusive media attention whilst presenting a falsely positive image for her adoring crowds.

Like at the New Year’s Eve, showers of colourful light cut through the darkness. While fireworks dissolve into nothing after a thunderous sound, shattered glass leaves material artifact. Sharp pieces then become a reminder of the real track that fireworks leave in the sky.

An idiot for some, a genius for others. Zoran is an urban legend of a Serbian block of flats who allegedly travelled the whole world without a single ID on him. After that, he went nuts due to politics, war and MDMA. “I saw it with my own naked eye,” nodded a half-blind old man. Though a clear answer to the question who Zoran really was is not to be expected at the end of this semi-serious manhunt, it is more than sure that even if he did not exist, the locals must have had to think him up.

What is birth? It is said that being born into this world is the beginning of suffering: dukkha.

Un niño escribe un libro de historias con su mejor amigo. Alguna de esas historias se hace realidad. Junto con la aparición de una misteriosa chica, el niño se ve obligado a enfrentarse a la realidad de lo que ha escrito, y comienza una batalla para tratar de reescribir la muerte.

A winged creature begins the precarious return from the city to the forest. There she will meet a group of mysterious beings who guide her to the heart of the forest. Step by step, they push her to transform, to leave herself behind. What happens when you decide to return to the forest?