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.

조지아 해안선 곳곳의 마을에서 백 년 넘게 자생해온 나무들은 15층 건물 높이에 다다를 만큼 울창하고 아름답다. 한 익명의 남자가 개인 정원을 가꾸기 위해 돈과 권력을 이용해 이 오래된 나무들을 사들인다. 거대한 나무들을 캐내고 이동하는 과정에서 마을 환경은 엉망이 되고 풍경은 기이하게 조각나며 주민들은 그 고통을 감수해야 한다. 영화는 이러한 과정을 따라가면서 오늘날 조지아 사회가 필요로 하는 것과 추구하는 가치를 묘사한다. 더불어 더 이상 은유가 아니게 된 '뿌리 뽑기'라는 행위를 통해 강제 이주에 관해 반추한다. (서울환경영화제)

조지아 해안선 곳곳의 마을에서 백 년 넘게 자생해온 나무들은 15층 건물 높이에 다다를 만큼 울창하고 아름답다. 한 익명의 남자가 개인 정원을 가꾸기 위해 돈과 권력을 이용해 이 오래된 나무들을 사들인다. 거대한 나무들을 캐내고 이동하는 과정에서 마을 환경은 엉망이 되고 풍경은 기이하게 조각나며 주민들은 그 고통을 감수해야 한다. 영화는 이러한 과정을 따라가면서 오늘날 조지아 사회가 필요로 하는 것과 추구하는 가치를 묘사한다. 더불어 더 이상 은유가 아니게 된 '뿌리 뽑기'라는 행위를 통해 강제 이주에 관해 반추한다. (서울환경영화제)

영화는 중앙 광장을 둘러싸고 고리 형태로 형성돼 있는 고분군을 지난 10년 동안 발굴해온 고고학자들의 작업을 따라간다. 오늘날 브라질의 아크레주에 해당하는 지역이다.

1970년대와 80년대에 활동한 여배우 델핀 세리그와 영화감독 카롤 루소풀로는 여성 해방운동을 위해 새로운 비디오 기술을 활용했다. 영화는 아카이브 자료들을 토대로 당대의 사건들 속에 개입하는 그들의 모습을 조명한다.

1970년대와 80년대에 활동한 여배우 델핀 세리그와 영화감독 카롤 루소풀로는 여성 해방운동을 위해 새로운 비디오 기술을 활용했다. 영화는 아카이브 자료들을 토대로 당대의 사건들 속에 개입하는 그들의 모습을 조명한다.

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.

태국 남부의 대표적인 관광지로 꼽히는 크라비 섬은 태국의 선사 시대와 가까운 과거, 그리고 현재의 세계가 충돌하는 장소다. 한 영화인은 촬영지를 물색하기 위해 관광 가이드의 도움을 받아 섬의 구석구석을 탐방한다. 이곳에 살고 있는 한 노인은 과거에 권투선수로 살아 온 삶을 이야기한다. 광고를 촬영하기위해 섬을 찾은 배우는 네안데르탈인과 조우하는 기이한 경험을 겪은 이후 행동에 변화를 보인다. 이 모든 신비로운 경험은 장소와 시간의 상호작용에 대한 시적인 표현이며, 일반적으로 크라비 섬을 방문하는 외지의 관광객으로서는 쉽게 볼 수 없는 경험을 선사한다. 미래처럼 느껴지는 2562년은 사실 ‘불력’으로서 영화가 완성된 2019년을 나타낸다.

박물관 복원 작업 과정을 비교적 담담히 기록할 뿐이지만, 그럼에도 일하는 사람들의 움직임과 대화, 멀리서 아득히 들려오는 팝, 라틴댄스, 메르세데스 소사의 음악 등은 어떤 정서를 만들어낸다. 특히 복원은 헌신과 섬세한 감수성으로 이루어지는 작업임을 제한적이고도 엄격한 프레임 구성으로 묘사하고 있다. 사물의 보존을 통해 시간의 흐름을 멈추게 하는 일, 복원. 그리고 복원을 통해 삶을 한 부분을 재현하는 영화의 힘은 스크린 안에서도 밖에서도 서로 다르지만 닮은 모습으로 이어진다.

박물관 복원 작업 과정을 비교적 담담히 기록할 뿐이지만, 그럼에도 일하는 사람들의 움직임과 대화, 멀리서 아득히 들려오는 팝, 라틴댄스, 메르세데스 소사의 음악 등은 어떤 정서를 만들어낸다. 특히 복원은 헌신과 섬세한 감수성으로 이루어지는 작업임을 제한적이고도 엄격한 프레임 구성으로 묘사하고 있다. 사물의 보존을 통해 시간의 흐름을 멈추게 하는 일, 복원. 그리고 복원을 통해 삶을 한 부분을 재현하는 영화의 힘은 스크린 안에서도 밖에서도 서로 다르지만 닮은 모습으로 이어진다.

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.

브루탈리즘은 21세기에 적용되고 갱신될 수 있을까? 이는 미학적, 철학적 도전이자, 건축 회사 ´6a´가 케임브리지대학교 처칠칼리지의 주거용 코트를 지을 때 치열히 고민해야 했던 지점이다.

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.

평범한 일상도 비범한 사고현장으로 뒤바꾸는 천부적 재능의 소유자 미스터 빈! 그가 올 여름, 일상에서 벗어나 멋진 휴가를 떠나는 행운의 주인공이 된다. 런던의 한 교회 추첨 행사에서 칸느 여행권과 최고급 캠코더를 얻은 것! 미스터 빈은 설레는 가슴을 부여잡고 칸느로 향한다. 그러나…미스터 빈은 파리에 도착한 순간부터 상상을 초월하는 엄청난 사건사고를 일으키는데… 과연, 미스터 빈은 무사히 칸느에 도착할 수 있을까?

건축가 부부 잭과 제니퍼는 친구 부부와 함께 카리브해로 항해 여행을 떠난다. 하지만 잭은 사사건건 배의 크루인 마누엘과 불화를 일으키고 결국 마누엘은 배를 떠나려 한다. 그 때 배에 화재가 발생해 배는 폭발하고 모두 뿔뿔이 흩어진다. 얼마 후 무인도에 표류하게 된 제니퍼는 마누엘을 만나고 그의 본심을 알고 경계를 푼다. 잭도 발견되어 마누엘이 살려주지만 잭은 제니퍼를 의심하고 마누엘을 질투해 결국 이들의 관계는 파국을 향하기 시작하는데…