Les Hautes solitudes (1974)

An androgynous poet/dreamer sits and writes and meditates on the aching void that is her life.

A stunning study of real-time light changing from day to night which was filmed in a forest high up in California’s Sierra Nevada Mountains

A survival, silent black & white film shot with a hand camera, a journey into Philippe Garrel's intimate family album featuring the two women who counted in his cinematographic life: Nico and Zouzou.

The Darkhad and Soyon Uriyanghai peoples live in a vast valley in Northern Mongolia, much as their ancestors have for centuries. "Taiga" is the record of a long period spent by the German filmmaker Ulrike Ottinger among these people.

It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.

Filmed clandestinely in Czechoslovakia on 16mm. It's one of the films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution.

A diary film about Kawase's relationship with her Grandma and the search for her Father, whom she has not seen since her parents divorced during her early childhood.

A fragmentary landscape for a little train station in a suburban area and a bus stop in a mining town. A lonely soldier in his heavy coat, a tired old man, a bubbly young lady, a punk, a woman waiting in the street... From all those different people in these unfamiliar places, we can feel the exhaustion of every life.

A group of veterans recount a horrifying experience when trapped in a minefield, resulting in each losing their sight.

Two young men leave a neglected but cozy native nook for a strange seaport town Kenigsberg. There they meet two girls the outsiders like themselves. Any attempt to find a normal human contact leads to misunderstanding. Or perhaps they are also lonely and unhappy. The realities, provoking a forced individualism melt in the atmosphere of the town, on which there lies a seal of historical and human cataclysms.

Does air temperature really matter for fountains to be frozen or melt? One just need to stop and look around... It's a mosaic of several interrelated characters in search of their own happiness. It's about hopes and disapointments, betrayal and forgivness... and of course it's all about love...

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.

When a disabled war veteran discovers the dead body of a beautiful singer in his back yard, his fascination with her photographic image soon turns to obsession

In Ulan Bator, Mongolia, the cur Baatar is shot by a hunter hired by the authorities to get rid off the dogs in the city...

An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents.

Haifa, nicknamed after the city of his love and hope, goes around and comes around in a Palestinian refugee camp. Although he is everybody's fool, there are many things that only he knows. He is closely related to the family of Abu Said, a former policeman who gains new hopes from the political developments. Oum Said, his wife, hangs her hope on the imminent release of their eldest son, Said, from jail. She tries to find him a bride to secure things for the future. Their youngest son, Siad, is cynical and rebellious. He refuses to believe things. Sabah, the 12 year old daughter is romancing the future and wants to find out what's in it for her. The different stories are interwoven into a very timely insight into the current Palestinian mind.

A group of drop-outs, losers and criminals are travelling in a stolen Mercedes seemingly aimlessly along numerous derelict houses and impassable roads to eventually end up on an old decaying state farm in Crimea, the southern tip of the former Soviet Union, where the mother, wife and daughter of one of them live. The men kill time with smoking, drinking and staring in front of them, but an undercurrent tension is brewing. On the last night they have a party that is equally destructive as their life

Seemingly, nothing happens in the film; At most, a man forgets something at home and must return. The viewer watches his train journey, the rhythm of the soundtrack determined by pylons whooshing by his cabin window.

Six strangers confront their uniquely 21st century anxieties with the help of a sorcerer in this playful performance art consciousness-bender-cum-ghost story about the search for meaning in the age of social media.

행복한 결혼 생활을 하는 평범한 중년 가장 트리스탄이 스위스로 출장 가는 부인 라셸을 공항으로 데려다 주고 오는 길에 스쿠터가 고장 나 곤경에 처한 한 아름다운 10대 소녀 안나를 만나 도와주게 된다. 그는 자신이 어떤 함정에 빠질지 전혀 예측하지 못한 채 안나를 자신의 집으로 이끌고, 그녀는 서서히 트리스탄의 몸과 마음을 잠식해간다. 사랑하는 아내 라셸과 전화를 할 때면 죄책감에 물들어가던 트리스탄은 한차례 안나를 집 밖으로 내몰지만 결국 다시 그녀와 함께한다. 결국, 출장에서 돌아온 아내 라셸에게 안나를 조카라고 소개하는 거짓말을 하고 마는데…