Wanda Jakubowska is a Polish filmmaker known for her work on the Holocaust, herself a victim of it. This film, one of the earliest depictions of life in concentration camps, is a powerful testimony. Filmed in Auschwitz shortly after the end of the war, it portrays the experience of several women in this camp. A little-known film that is presented in a digital restoration that shows the film in a new light (and sound).
This film started from a singular idea: to illustrate the phrase of the American director Raoul Walsh, who worked in the first half of the 20th century, which gives the film its title, by making a compilation of all the characters that ride horses in his films. But the film grows beyond the compilation film, or even the essay film, to become something bigger and more idiosyncratic, with a hint of a detective story.
Finnish engineer Eric Tigerstedt successfully recorded sound on film using a device of his own invention, the photomagnetophone, ten years before there were any advances in commercial cinema—in 1914. These are the original surviving tests.
Michaela Grill uses a montage of images from silent films, with music by Sophie Trudeau, to portray the feelings of despair that the confinement, caused by the pandemic, brought to the fore.
The textures and colors of soap bubbles made abstract, in a work inspired by the formative and constitutive process of nature.
A trip through Clara Cullen’s family tree and personal archive led, five years ago, to discovery that her great-grandmother was the first female director in Argentina, when she found a box with footage filmed by her.
Lotte Eisner was a journalist, chief curator at the Cinémathèque Française at the time of Henri Langlois, author of the book The Haunted Screen (1952) — analyzing German expressionist cinema — and admired by directors from Fritz Lang to Godard. However, she is still a little-known figure, something that this film wants to change. This mission is accompanied by archival images, film excerpts and interviews with figures such as Wim Wenders and Werner Herzog.
Samuel Barbosa, in his first feature film, explores the creative process of Paulo Rocha (Os Verdes Anos) and his films, through his characters, the artists he worked with and other testimonies of his art.
It is with images of Domingos de Oliveira Santos, a surgeon turned filmmaker, that Edgar Pêra composes a mosaic that goes beyond home videos, rushing beyond them.
Film that takes as a starting point the exhibition Pedro Costa: Company — an exhibition dedicated to the Portuguese filmmaker that could also be seen as a collective, given that he was flanked by artists such as Picasso, Bresson, António Reis, John Ford, Jeff Wall, Godard, Rui Chafes or Charlie Chaplin — to continue to create a dialogue between the Portuguese director and the figures that haunt his imagination.
Filip Jan Rymsza, who had already produced The Other Side of the Wind – A Welles film kept in a shelf for 40 years and released in 2018 – returns with this conversation between two magisterial figures of American cinema, filmed in 1970. In the two hours of this visual document unknown until now, the two directors vividly debate, questioning the nature of their work and violence in the United States, among other topics. A historical record.
Chloé Galibert-Laîné analyzes Chris Kennedy’s Watching the Detectives and the content produced after the Boston attacks. At the same time, Galibert-Laîné uses Structuralism, film editing and her academic language in her own investigation.
A film that illuminates the ways in which real investigations in virtual communities are carried out, such as on reddit or 4chan, exemplified by the events that followed the tragedy of the Boston Marathon in 2013, through the possibilities of crowdsourcing.
A movement from the intimate to the collective. The love story of Conceição and Orlando Senna, through almost 60 years, is interwoven with many stories of Brazilian cinema and, in a broader sense, with the history of Latin American audiovisual.