Prelude to the Murder of a Prison Guard (1979)

Летом 1979 года несколько друзей из маленького городка в Огайо, снимающие любительский фильм на камеру «Супер 8», стали свидетелями железнодорожной катастрофы. И вскоре они начинают подозревать, что это не было просто несчастным случаем. Странные исчезновения и необъяснимые события начинают происходить в городке, и местный шериф пытается разгадать их тайну — что-то куда более ужасающее, чем все могли себе представить.

Вместе с семьей автор детективов поселяется в небольшом городке, в доме, где почти год назад развернулась леденящая душу трагедия — были убиты все жильцы. Писатель случайно находит видеозаписи, которые являются ключом к тайне преступления. Но ничто не дается даром: в доме начинают происходить жуткие вещи и теперь под угрозой жизнь его близких. Они столкнулись с чем-то, от чего нет спасения…

На дворе 1973 год, и в Испании бушует франкистская диктатура. Вопреки запретам простой коммивояжер Альфредо собирается пойти на явное преступление — снять 8 эротических «образовательных» фильмов и переправить их в лояльную Скандинавию. Он и подумать не мог, что его жена Кармен, «сыгравшая» в фильмах главные роли, в северных странах станет порнозвездой, и из Дании к Альфредо пожалует съемочная группа, чтобы помочь снять ему вдохновленный творчеством Бергмана фильм «Торремолинос 73»…

После рождения ребёнка Филипп покупает себе 8-миллиметровую кинокамеру. Поскольку это первая камера в городе, местный партийный босс берёт его своим официальным фотографом. С повышением по службе растет и слава любителя; только взгляд его на реальность через объектив становится все более неприятным и беспощадным и все менее устраивающим власть предержащих…

Indifferent landscapes, refracting light, some lonely bird and the window to the sebum-laden living room made of patterned wallpaper and trivialities. Cut. Tenacious sequences inflate moments to cliff-hangers and shatter their tremulous spectatorship. Thundering leitmotifs – in constant intoxication by German disinterest – with no backrest or lederhosen. Black-red-gold at full mast, the cinema is dead.

In 1948, French singer Charles Aznavour (1924-2018) receives a Paillard Bolex, his first camera. Until 1982, he will shoot hours of footage, his filmed diary. Wherever he goes, he carries his camera with him. He films his life and lives as he films: places, moments, friends, loves, misfortunes.

In April, 1975, civil war breaks out; Beirut is partitioned along a Moslem-Christian line. Tarek is in high school, making Super 8 movies with his friend, Omar. At first the war is a lark: school has closed, the violence is fascinating, getting from West to East is a game. His mother wants to leave; his father refuses. Tarek spends time with May, a Christian, orphaned and living in his building. By accident, Tarek goes to an infamous brothel in the war-torn Olive Quarter, meeting its legendary madam, Oum Walid. He then takes Omar and May there using her underwear as a white flag for safe passage. Family tensions rise. As he comes of age, the war moves inexorably from adventure to tragedy.

A grandmother dies and leaves behind hours of secret film and audio recordings as well as an envelope with the words “Must read after my death,” which reveal a dark history for her family to discover.

A street-wise teen gets herself in a series of circumstances and mishaps in her meaningless existence.

In this short slice of transgressive punk cinema, a woman achieves accidental revenge on her boyfriend after he cruelly kills and eats the fish-stick that she had magically brought to life. Despite this tragic event, not all is lost for Lolita, as she soon meets an unexpected new friend.

During a recent remodel of The Yellow House crews discovered the remains of a little girl and a super 8 movie camera with the footage still inside. The footage has been released to the media by Summerland police with the hope that someone can solve this mystery. Police investigators confirm the film was shot by the missing couple. It is believed they were murdered by occult members. This is their footage.

SONG 13: A travel song of scenes and horizontals (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).

The filmmaker Juan Pinzás goes on a physical and also inner journey, in search of some lost images that he filmed in the 80s. The journey takes him from Madrid to Galicia and on the search for these images he meets with various characters who will help him in his undertaking, such as the actors Paul Naschy and Javier Gurruchaga whose personal worlds will be examined in the film. Finally in Vigo, his home city, of which he presents a remarkable portrait, he finds an old film in Super-8mm with the missing images. The catharsis is produced with the viewing of the old film which turns out to be a tribute to cinema and this means the end of the filmmaker's introspective journey.

A man is threatened by mobsters to pay up a loan or be killed.

SONG 7: San Francisco (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).

In the old projection room of a cinema something comes to life. 24 frames per second. 24 beats per minute. The analogue film is infinite. ∞

SONGS 2 & 3: Fire and a mind’s movement in remembering (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).

Shot on Super 8, Aunty CB is a memory montage of a woman’s stream of consciousness and her honest introspection surrounding gendered family dynamics and childhood trauma. Framed as a confessional monologue, Singlish, Hokkien, and English are employed to capture a linguistic and vernacular portrait of the eponymous character.

BACK IN MY BODY is a short documentary about musician Maggie Rogers returning to Alaska, a place that has had a huge impact on her life.