Rastros que Deixamos (2021)

O "Dela" no título do filme se refere à Paris dos anos 60, um retrato da sociedade de consumo, em meio à pobreza das massas e conflitos como a Guerra do Vietnã. Um dos exemplos dessa atmosfera é Vlady, uma dona-de-casa que se divide entre cuidar da família e a prostituição, o meio mais fácil que encontra para poder ganhar dinheiro e satisfazer suas necessidades mais frívolas.

F for Fake é um documentário ensaístico, um filme sobre a fraude, a mentira, nos seus vários ângulos. Centra-se na vida do famoso falsificador de arte Elmyr de Hory.Welles surge em vários locais, inclusive num restaurante, até numa suposta sala de edição, criando um filme dentro do filme.

An immersive film essay on tennis legend John McEnroe at the height of his career as the world champion, documenting his strive for perfection, frustrations, and the hardest loss of his career at the 1984 Roland-Garros French Open.

Um ensaio atmosférico, servindo como uma versão alternativa do “Conde Drácula”, um filme dirigido por Jess Franco em 1970; uma narração fantasmagórica entre ficção e realidade.

A tribute to a fascinating film shot by Alfred Hitchcock in 1958, starring James Stewart and Kim Novak, and to the city of San Francisco, California, where the magic was created; but also a challenge: how to pay homage to a masterpiece without using its footage; how to do it simply by gathering images from various sources, all of them haunted by the curse of a mysterious green fog that seems to cause irrepressible vertigo…

A provocative and poetic exploration of how the British people have seen their own land through more than a century of cinema. A hallucinated journey of immense beauty and brutality. A kaleidoscopic essay on how magic and madness have linked human beings to nature since the beginning of time.

For just forty days, filmmaker and writer Mark Cousins embarks on a peculiar journey in order to explore topics as the passion for cinema and certain aspects related to making films as style, ideas, emotions and practicalities; an ambitious exploration of the universal language of cinema by analyzing pieces of work that cross every artistic and cultural boundaries.

How do you put a life into 500 words? Ask the staff obituary writers at the New York Times. OBIT is a first-ever glimpse into the daily rituals, joys and existential angst of the Times obit writers, as they chronicle life after death on the front lines of history.

Twenty-five films from twenty-five European countries by twenty-five European directors.

Cremaster foi feito durante um período de oito anos (1994-2002) e culminou em uma grande exposição do museu organizado por Nancy Spector do Museu Solomon R. Guggenheim , em Nova York, que viajou para o Museu Ludwig , em Colónia e do Musée Moderne arte d' em Paris, de 2002-03. Colaborador de longa data do Barney Jonathan Bepler compostas e arranjadas as trilhas sonoras para os filmes.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.

An essay-film about images and politicians.

Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc.

A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.

A very personal interpretation, to say the least, of the passion of the Christ According to St. John.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.

Every image in The Fall of Communism as Seen in Gay Pornography comes from gay erotic videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world, one in which money, power and sex are now connected.

A hole gapes in a house wall. A small flaw, something imperfect that we seldom consciously direct our attention to. Filmmaker Ondřej Vavrečka finds holes in every corner. His focus is on the imperfections of human existence. A hole can also mean an uncertain future, or an empty stomach. The gap that partners leave behind after a breakup. Ondřej Vavrečka does not only deal with visible holes. He looks at the incomplete from a philosophical perspective. He also lets a nuclear physicist, a theologian and an ethnologist have their say. He underscores their thoughts and theses with absurd everyday scenes: a woman with a chair on her head or an invisible skier. These scenes combine with interviews, sounds and stop-motion sequences to create a playful collage.

Three people become connected through mysterious circumstances involving electronic devices which spontaneously appeared in their world.