Erik Satie

Troubled and alone, a boxer moves in with his long-lost mother and autistic pianist brother — but must fit in with a family he hasn't known for years.

An experimental short film shot on iPhone 7 Plus during the first year of the COVID-19 outbreak. The film depicts a young man's love for arts and his inability to coexist with his persona.

Not to be confused with the mitochondria, the powerhouse of the cell. This year's theme was "baby."

Asli is an actress working hard for her next role, Iphigenia. One day, she auditions for "shoe advertisements" but agency employees won't let her finish her role. He steals the shoe he wore during the auditions and returns to the theater like a Cinderella.

A wandering through the primal emotions of birth, motherhood, body, nature, metamorphosis and dance.

The Yellow Lounge is nowhere more true to its reputation of bringing classical music to unusual spaces than here in the stunning setting inside MORI Building Digital Art Museum in Tokyo. Pianist Alice Sara Ott as well as cellist Mischa Maisky perform repertoire from Debussy, Satie, Saint-Saëns and Massenet.

Парад для трех менеджеров и четырех исполнителей. Соединение цитат из сочинений французского композитора Эрика Сати с музыкой его балета «Парад» приводит к тому, что знаменитая «реалистическая постановка» обретает совершенно новую реальность.

Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.

Кён — член нелегального школьного кружка «Команда SOS», организованного Харухи, — который в один декабрьский день обнаруживает, что мир за ночь полностью изменился: в частности, кружка больше не существует, и остальные его участники Кёна не узнают.

In a small farming valley in Austria in the beginning of the 20th century a tyrannical farmer is found dead, and all the farmhands are relieved to be free of their tyrant. But the farmer was childless, so suddenly they all inherit the farm together. Now conflicts begin, as nobody is the boss and nobody has to obey.

As the waters of the river Seine overflow their banks and surround a Parisian café, composer Erik Satie nurtures bittersweet memories of his one-time lover Suzanne Valadon.

A documentary which follows the most important events of Constantin Brâncuși, a Romanian artist.

The heart is still beating; the eyes can see, the ears can hear. Nights of the full moon, horror stories, disquiet. The spirits from the past are returning. Death is implicated... and grief.

A cinematographic attempt at a maximum of exertion and a maximum of relaxation based on the thoughts of John Cage, Chuang Tzu and others.

"Ghost Body" is a personal meditation on the ambivalences of interracial male homosexuality.

The adaption of Arthur Schnitzler's brilliant study of the moral illusion and reality in a small town near Vienna at the end of the century. - After the famous radio adaption by Max Ophüls in 1954.

Short documentary on Belgian artist Piet Bekaert.

Axel and Bertha are a married couple who are both artists in 1880s Paris, the film addresses the topic of gender equality in marriage and society, for example the property rights of married women.

Story of a woman during the Russian Revolution.

The fauna of the megalopolis, the jungle of the supermarket, the bedlam of brothels and bars, the effect of the bars in the fog, the swaying ears of corn, the swaying of men hanging from the gallows, the ripple of water – seen by the eye of the animator…

As a family goes on with their day, the shadows on their walls lead a completely different life.

Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

Алену Леруа за тридцать, когда-то он воевал в Алжире, несколько лет был душой парижской богемы, развеселая жизнь, лишь изредка омрачавшаяся приступами меланхолии, привела к алкоголизму. И даже женитьба на богатой красавице-американке ничего не изменила. Пришлось пройти курс лечения в версальской клинике для состоятельных граждан, откуда он, абсолютно здоровый — по мнению врачей, боится выйти. И все-таки выходит, чтобы отправиться по старым адресам…

Maldone is a canal worker, happy with his life after running away from his family estate. He falls in love with Zita, a young gypsy girl, during a local fete. However, after his brother dies, Maldone is called back to manage the estate. There, he takes up the life of a landowner and marries a neighbor's daughter. Years later Maldone is still restless on the estate, and becomes obsessed with Zita, after meeting her by chance one evening.

Фильм состоит из двух неравных частей. Первая из них, Пролог — короткая, чуть менее двух минут, проецировалась на экран во время исполнения увертюры балета Эрика Сати «Relâche» (в переводе «Спектакль отменяется» или чаще употребительное название «Антракт»). Вторая часть, Антракт — продолжительностью примерно 18 минут, показывалась в зрительном зале театра во время (или вместо) антракта между двумя актами того же балета. Эти две части, Пролог и Антракт, почти не связанные друг с другом ни по сюжету, ни по стилю, тем не менее в настоящее время соединены автором в один фильм «Антракт» и показываются вместе без перерыва, как единое целое.

Фильм состоит из двух неравных частей. Первая из них, Пролог — короткая, чуть менее двух минут, проецировалась на экран во время исполнения увертюры балета Эрика Сати «Relâche» (в переводе «Спектакль отменяется» или чаще употребительное название «Антракт»). Вторая часть, Антракт — продолжительностью примерно 18 минут, показывалась в зрительном зале театра во время (или вместо) антракта между двумя актами того же балета. Эти две части, Пролог и Антракт, почти не связанные друг с другом ни по сюжету, ни по стилю, тем не менее в настоящее время соединены автором в один фильм «Антракт» и показываются вместе без перерыва, как единое целое.

an artistic exploration of a woman's life through poetry