Philippe Ciompi

Surrounded by social and political chaos in Lima during the summer of 1992, Lucia, Aurora, and their mother, Elena, plan to leave and seek opportunities in the United States. Their farewell involves reconnecting with their estranged father, Carlos, adding turbulence to the regrets, hopes, and fears of their emotional departure.

A village on the Georgian Black Sea is full of friendly people convinced they know each other. One day, Eliko is found hanged. His granddaughter Moe comes to organize his funeral. She is confronted with a web of lies and the tragic consequences of Eliko’s hidden love life with Amnon, which lasted 22 years. The truth however frees Moe’s capability to love and forces the villagers to take a stand.

Some kids in Brussels play a game based upon objects that were brought back from the Congo and which were used during the Hutereau expedition.

Some kids in Brussels play a game based upon objects that were brought back from the Congo and which were used during the Hutereau expedition.

A powerful man, who is also the former prime minister of Georgia, has developed an unusual hobby. He buys century-old trees, some as tall as 15-floor buildings, and has them excavated along the Georgian coastline to collect them for his private garden. In order to transplant trees of such dimensions, the landscape surrounding them is ripped apart and the people living around them are forced to adapt to the disruption. As the film follows this process, it portrays the needs and values of today’s Georgian society and reflects on the theme of forced migration, where "uprooting" is more than a metaphor.

A powerful man, who is also the former prime minister of Georgia, has developed an unusual hobby. He buys century-old trees, some as tall as 15-floor buildings, and has them excavated along the Georgian coastline to collect them for his private garden. In order to transplant trees of such dimensions, the landscape surrounding them is ripped apart and the people living around them are forced to adapt to the disruption. As the film follows this process, it portrays the needs and values of today’s Georgian society and reflects on the theme of forced migration, where "uprooting" is more than a metaphor.

Sol de Campinas traces the work of archaeologists who, for the past ten years, have been excavating a ring of mounds surrounding a central plaza within a territory currently known as the State of Acre, Brazil. They transition from field to laboratory, interpreting how the land was constructed, what patterns were employed in settlement land use, and the composition of the anthropogenic earth that remains.

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

In Georgia, two stranded Nigerians, Obinna and Afame, navigate the sleeping city of Tbilisi after a long night out. However, as day breaks the true colors of their ambiguous affection begin to show. In this way, they find solace despite their hostile environment.

In Georgia, two stranded Nigerians, Obinna and Afame, navigate the sleeping city of Tbilisi after a long night out. However, as day breaks the true colors of their ambiguous affection begin to show. In this way, they find solace despite their hostile environment.

Explores the landscape and stories within the community of Krabi, Southern Thailand. A major tourist destination in Thailand, the filmmakers want to capture the town in this specific moment where the pre-historic, the more recent past and the contemporary world collide, sometimes uneasily.

With an elephant’s tusk as the protagonist, the film meditates on the endless tactility of conservation.

With an elephant’s tusk as the protagonist, the film meditates on the endless tactility of conservation.

From the coast of the Atlantic to that of the Mediterranean, the director meets women whose faces recount ruined hopes. Grief finds an element of painful meditation in the movement of the waves.

From the coast of the Atlantic to that of the Mediterranean, the director meets women whose faces recount ruined hopes. Grief finds an element of painful meditation in the movement of the waves.

Viviana and Yandris weave red and yellow yarn into bags. In the distance we hear the hammering of machines, the wail of sirens and the thunder of explosions.

1945. Four thieves, a stolen ox, a dragon lying under a sofa, a jealous brother and a Soviet inspector murdered in a mill: here are some of the mysterious elements of which the characters in Lantsky Papa's stolen ox try to make sense.

A film of a sloth, using three-colour separation to show sloth time.

In this short film of Cowan Court, which was completed by 6a architects in late 2016, Rivers has turned his camera onto the interactions between architecture and landscape within which the students of Churchill College, University of Cambridge live and work.

An unseen location scout explores an opal-mining town in South Australia in this sci-fi-laced essay film, which finds in this semideserted region both the traces of indigenous culture and remnants of cinema history

In the industrial city of Kawasaki, on the corner of the street where my grandparents used to live, bettors of keirin — a cycling race developed in post-war — gather in a tiny bar busy drinking, chatting and gambling at the velodrome nearby. Most are old men who struggle to make a living for themselves; most have lived in this town their whole lives. This film frankly captured with a fixed camera, gives voice to the lives of the elderly men who have been left behind by Japan's economy.

Chaima, a 25-year-old woman of Maghreb origin, lives with her parents in a popular neighbourhood on the outskirts of Geneva. It's her day off, she pretends to go to work in her uniform and retrieves her bag under the stairwell. She joins her friend and accomplice Leila. Together, they go off to party.

Gabriel, a young Georgian man, has a love relationship with a transgender woman Amaia, who lives in the Tbilisi suburbs. Embedded in the reality of Georgia, their relationship is threatened. They are given over to the sheer strength of their feelings and are fragile in a violently hostile environment. A narrative of exemplary discreetness.

Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, drawings, ceramics, sculptures and works on stone, flint and bone) created between 1946 and 1981, by about 140 people compelled to live in the Netherne psychiatric hospital in South London. Blending archive, reconstruction, animation, 35mm rostrum, and observational photography, the film explores the transformation of these objects from clinical material to revered art objects examining the lives of the creators and the changing contexts in which the objects were produced and displayed.

Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, drawings, ceramics, sculptures and works on stone, flint and bone) created between 1946 and 1981, by about 140 people compelled to live in the Netherne psychiatric hospital in South London. Blending archive, reconstruction, animation, 35mm rostrum, and observational photography, the film explores the transformation of these objects from clinical material to revered art objects examining the lives of the creators and the changing contexts in which the objects were produced and displayed.

Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, drawings, ceramics, sculptures and works on stone, flint and bone) created between 1946 and 1981, by about 140 people compelled to live in the Netherne psychiatric hospital in South London. Blending archive, reconstruction, animation, 35mm rostrum, and observational photography, the film explores the transformation of these objects from clinical material to revered art objects examining the lives of the creators and the changing contexts in which the objects were produced and displayed.

‘You have no choice about being here, you’ll have no choice about when you leave’ proclaims a woman in Xiaolu Guo’s latest film, a documentary about the personal and physical journeys of the people of London’s East End. Herself an immigrant to the area, Guo’s sensitive character studies hint at an affinity with the push and pull of feelings of alienation, a theme she has previously explored as a filmmaker (She a Chinese, LFF 2009) and novelist (A Concise Chinese-English Dictionary for Lovers). This empathy is also apparent in her playful stylistic approach that layers Warhol-esque news reports, archival material and a soundtrack including Linton Kwesi Johnson and Fela Kuti, to comment on the human cost of capitalism. The resulting film is both a penetrating portrait of a frenetic place that feels deeply authentic, and a powerful piece of protest film.

A man at three disparate moments in his life: as a member of a fifteen-person collective on a small Estonian island, alone in the wilderness of Northern Finland and as the singer of a neo-pagan black metal band in Norway. Three moments for a radical proposition for the creation of utopia in the present.

Thirty female prisoners share the convicts’ ward of Tuilière Prison at Lonay. More than half of them have one or more children being raised elsewhere: with a sister, in a foster family, or – further away still – in their countries of origin. In portraying some of these women, the film sheds light on these mothers and the bond that ties them to their children.

A portrait composed of archives of Thomas Sankara, president of Burkina Faso between 1983 and his murder in 1987. Ready to liberate his country and transform the mentalities of his fellow citizens, contesting the world’s political order and challenging the powers of his time, Sankara stands out strongly in the history both of Africa and of the world.

Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.

Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.

Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.

Zé, a 50-year-old alcoholic, works in the port of Lisbon where he loads and unloads containers. Zé never left his neighborhood and is hiding his savings so that one day he'll be able to board one of the huge cruise ships he sees everyday. When his jealous wife steals his money, Zé will do everything to fulfil his dream.

Film shows the present state of China through twelve platforms, an old farmer, a middle aged waitress, a car washer, a weapons dealer, fish store owners, a barber, a factory owner, a park ranger, a shopping mall employee, etc. These various faces of the so-called proletarian class ask, what is a dream? Answers to this question exist in the interview with each character, but is conveyed much more clearly through the black and white image of the children putting up their future as security as shots are heard continually behind them.

Film shows the present state of China through twelve platforms, an old farmer, a middle aged waitress, a car washer, a weapons dealer, fish store owners, a barber, a factory owner, a park ranger, a shopping mall employee, etc. These various faces of the so-called proletarian class ask, what is a dream? Answers to this question exist in the interview with each character, but is conveyed much more clearly through the black and white image of the children putting up their future as security as shots are heard continually behind them.

Two old Chinese communists visit run down England. The man who lost his voice scribbles his comments: "Water is so good in the West." "Flowers are long dead on Karl Marx's grave." His wife has no doubts : Back home is much better.

Two old Chinese communists visit run down England. The man who lost his voice scribbles his comments: "Water is so good in the West." "Flowers are long dead on Karl Marx's grave." His wife has no doubts : Back home is much better.

Two old Chinese communists visit run down England. The man who lost his voice scribbles his comments: "Water is so good in the West." "Flowers are long dead on Karl Marx's grave." His wife has no doubts : Back home is much better.

くじ引きによりフランス・カンヌのビーチへの旅行とビデオカメラを当てたMr.ビーンだがリヨン駅のカンヌ行列車の前で男に撮影を手伝ってもらったところ、その男を置き去りにしてしまう。列車内には既に男の息子であるステパンが乗車しており、ステパンにカメラを奪われたことでビーンは荷物を失い次の駅で降ろされてしまう。ステパンの父はカンヌ国際映画祭で審査員を務める映画監督・エミールだった。

After a yachting accident, a millionaire and his wife are shipwrecked on a desert island along with their former deckhand, Manuel.