Elmer Leupen

From backstage to the stage, from the magic of an opera to the depths of a documentary, Inside My Heart pushes the boundaries between the rehearsal process and the performance, at the heart of a troupe of professional actors with intellectual disabilities. A radically imaginative film that uses all possible cinematographic means to make the romances, conflicts and questionings of these actors palpable with lightness, literally sucking us in with them in a baroque drama with fairy-tale overtones. Through the themes of homosexuality, eroticism and the relationship to the body, Inside My Heart questions the way we look at things and what we might take for granted.

A short ironic film about a Missing Nail in the iconography of Christ and his depiction in da Vinci’s painting of The Last Supper.

With more than 50 years of experience as film director, Peter Greenaway (Nightwatching, Eisenstein in Guanajuato) combines the worlds of film and opera at the Verdi Festival in Parma, demonstrating what magic those two can do together with an all new approach to Giuseppe Verdi's Giovanna d'Arco, staged and edited by himself and his wife, Saskia Boddeke. The opera's libretto is based on Friedrich Schiller's 'The Maid of Orleans'. It tells the story of the French national hero Jeanne d'Arc, who defends her country against the English troops during the Hundred Years' War. Constantly torn between her humble roots, her love for King Charles VII and her heavenly task to fight for France, she gains eternal glory by giving her life in the final, victorious battle against England.

In 1931, following the success of the film Battleship Potemkin, Soviet filmmaker Sergei Eisenstein travels to the city of Guanajuato, Mexico, to shoot a new film. Freshly rejected by Hollywood, Eisenstein soon falls under Mexico’s spell. Chaperoned by his guide Palomino Cañedo, the director opens up to his suppressed fears as he embraces a new world of sensual pleasures and possibilities that will shape the future of his art.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

Goltzius and the Pelican Company tells the story of Hendrik Goltzius, a late 16th century Dutch printer and engraver of erotic prints. A contemporary of Rembrandt and, indeed, more celebrated during his life, Goltzius seduces the Margrave of Alsace into paying for a printing press to make and publish illustrated books. In return, he promises him an extraordinary book of pictures of illustrating the Old Testament’s biblical stories. Erotic tales of Lot and his daughters, David and Bathsheba, Samson and Deliah and John the Baptist and Salome. To tempt the Margrave further, Goltzius and his printing company will offer to perform dramatisations of these erotic stories for his court.

Nine-year-old Lisa discovers her sinister new friend is the ghost of the dead twin of Lisa's mother. Then Lisa's father also begins to suspect his wife of hiding a terrible secret, resulting in deadly consequences…

J'accuse is an 'essay-istic' documentary in which Greenaway's fierce criticism of today's visual illiteracy is argued by means of a forensic search of Rembrandt's Nightwatch. Greenaway explains the background, the context, the conspiracy, the murder and the motives of all its 34 painted characters who have conspired to kill for their combined self-advantage. Greenaway leads us through Rembrandt's paintings into 17th century Amsterdam. He paints a world that is democratic in principle, but is almost entirely ruled by twelve families. The notion exists of these regents as charitable and compassionate beings. However, reality was different.

The Tulse Luper Suitcases reconstructs the life of Tulse Luper, a professional writer and project-maker, caught up in a life of prisons. He was born in 1911 in Newport, South Wales and presumably last heard of in 1989. His life is reconstructed from the evidence of 92 suitcases found around the world - 92 being the atomic number of the element Uranium. The project includes three feature films, a TV series, 92 DVDs, CD-ROMs, and books.

The Tulse Luper Suitcases reconstructs the life of Tulse Luper, a professional writer and project-maker, caught up in a life of prisons. He was born in 1911 in Newport, South Wales and presumably last heard of in 1989. His life is reconstructed from the evidence of 92 suitcases found around the world - 92 being the atomic number of the element Uranium. The project includes three feature films, a TV series, 92 DVDs, CD-ROMs, and books.

"Antwerp" continues telling the picaresque adventures through the world of multi disciplinary artist and professional prisoner Tulse Luper. This movie premiered at the Venice Film Festival as a separate title located between the first and the second part of the Greenanway Tulse Luper Trilogy.

The Tulse Luper Suitcases reconstructs the life of Tulse Luper, a professional writer and project-maker, caught up in a life of prisons. He was born in 1911 in Newport, South Wales and presumably last heard of in 1989. His life is reconstructed from the evidence of 92 suitcases found around the world - 92 being the atomic number of the element Uranium. The project includes three feature films, a TV series, 92 DVDs, CD-ROMs, and books.

After the death of his wife, wealthy businessman Philip Emmenthal and his son Storey open their own private harem in their family residence in Geneva (they get the idea while watching Federico Fellini's 8½ and after Storey is "given" a woman, Simato (Inoh), to waive her pachinko debts). They sign one-year contracts with eight (and a half) women to this effect. The women each have a gimmick (one is a nun, another a kabuki performer, etc.). Philip soon becomes dominated by his favourite of the concubines, Palmira, who has no interest in Storey as a lover, despite what their contract might stipulate. Philip dies, the concubines' contracts expire, and Storey is left alone with Giulietta (the titular "½", played by Fujiwara) and of course the money and the houses.

From Moscow to Mexico City, Eisenstein was privileged enough to met the cultural heroes of the era and embrace them as compatriots, with a handshake. Such was his reputation as the wunderkind of the new art of cinema, everybody wanted to meet him; there were writers, painters, critics, theorists and philosophers, as well as composers, architects, and artists from all branches of the cultural life that was shaping minds and civilizations. Our project would follow Eisenstein's journey and note the significant characters he encountered on his travels, with a focus on Switzerland.