Thanks
A young woman grapples with the aftermath of reporting sexual harassment in the workplace
Director
Un psiquiatra se enfrenta a su pasado, presente y futuro cuando se ve envuelto en el tratamiento de un joven que acaba de salir de la cárcel por un asesinato que cometió cuando tenía 11 años.
Herself
In the years before Ronald Reagan took office, Manhattan was in ruins. But true art has never come from comfort, and it was precisely those dire circumstances that inspired artists like Jim Jarmusch, Lizzy Borden, and Amos Poe to produce some of their best works. Taking their cues from punk rock and new wave music, these young maverick filmmakers confronted viewers with a stark reality that stood in powerful contrast to the escapist product being churned out by Hollywood.
Director
EEUU /// Harry es un atractivo exmarine de cincuenta y dos años, un poco lacónico y solitario, que esconde un terrible secreto. El reencuentro con un compañero del ejército moribundo obligará a afrontar la carga de un ataque homófobo cometido treinta años atrás.
Director
Phillip -un niño de 10 años- y su madre viven una vida de proscritos en la carretera, siempre de un lado para otro, Mientras los otros chicos estudian de forma tradicional, el precoz Phillip no necesita ir a la escuela; el brillo de las luces de neón de los moteles es suficiente para poder leer los libros de texto de biología y física que su madre le explica, mientras ésta seduce a hombres a cambio de sus tarjetas de crédito para poder costearse su errante vida. Pero a pesar de la libertad de la que disfrutan, ambos llegan a la conclusión de que han de intentar asentarse en algún lugar para llevar un estilo de vida que permita a Phillip tener amigos e incluso un padre.
Director
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Director
Una joven reprimida desarrolla una fascinación por la pornografía y el voyeurismo mientras vende entradas para películas para adultos.
Director
The goings-on around a porn theater in New York’s East Village, interspersed with actors recounting experiences with extreme sexualities and a description of a scene from the pre-code Dorothy Arzner film of the same name.
Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."
Writer
Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."
Director
Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."
Director
Exchanges investigates mechanisms by which meaning is produced in film, through the interaction of the process of construction of a text and the social context which determines and is represented by that text.
Director
a time-lapse glimpse of the Madison, WI skyline from dusk to dark. Shot from within a hotel room, the street traffic and the reflected interior interpenetrate in gradually shifting superimposition.
Editor
A visually stunning kinetic rhythm produced by looped footage (mathematical curves) in and out of phase with each other.
Director
A visually stunning kinetic rhythm produced by looped footage (mathematical curves) in and out of phase with each other.
Director
A single action seen from alternative left and right perspectives, accentuating reversals, repetitions and persistence of vision. Rather than uniting opposites, rhythm is set up by the struggling eye, varying as the image is moved closer to and further from the screen's center. The sound, with its fragmentations and its implications of incompleteness, focuses attention on the impossibility of a resolution in the film's dichotomy. "Rather than crediting the camera with objectivity according to the usual convention in film, the viewer is confronted with the relativity of simultaneous multiple perspectives. The soundtrack underlines the arbitrary relationship between a sign and its signifier, as does Magritte's painting, Ceci n'est pas une pipe." – The Art Examiner
Director
This recently unearthed and newly digitized work is a richly minimalist, single-camera-setup portrait of the sights and sounds at a late-night diner in Madison, WI.
Director
A couple and a train.
Director
A conceptual bicentennial film dealing with spatial and temporal relationships between two travelers, their car, and the geographic, political, and social changes from NY to Los Angeles.
Director
A meditation on the American rustic. Various objects within the composition are re-presented in unnatural colors and unusual spatial arrangements, emphasizing the illusion of movement while exploring film grain and graphic nature. The image of foreground and background becomes reversed, and through that process we lose sight of three-dimensional space representation.
Director
A narrative film concerning an investigation of two women in time and space, to the point where the investigation becomes the narrative.
Director
Intercourse between two people who never appear on the screen at the same time. An exploration of sex and male/female identities.
