The vibrant colours and the texture give an idiosyncratic beauty to a film whose main character lives haunted by violent memories that are revealed as we get to know him better. ‘Pinky’ has fled a cult linked to a transcendent figure, but now he is unable to reconcile the turbulence he feels. An individual journey that intertwines with the social and political panorama of Colombia.
Gravayat mixes images from the past, from the 50s to the 70s, and contemporary images to show connections and developments in the Seine-Saint-Denis area, on the outskirts of Paris, a place of precarious housing, whose populations are always under attack.
Restrepo points his 16mm camera at a Colombian area, Choco, geographically isolated between sea and forest, on the border with Panama. Despite the adverse living conditions, it opens the way to religious missions, military operations and even tourism projects.
We are in Medellín, Colombia, and time is marked by the repetitive and constant moments, and movements, in city life, like neverending traffic, or people taking a break from work.
It’s impossible to tell the history of violence in Colombia. An internal and interminable armed conflict has had its lines of demarcation become indecipherable and it’s merely a part of life in this country. But Restrepo tries to tell this story.
A mother and a promise. “If the dead command the living”, sings a woman that promised her mother she would find the father she never knew and settle the score with him, for both of them. Upon the rumour that he died, she doesn’t quit and continues searching for him.
A musical with the drummer and percussion master Mahomed Bangoura, with vague hints of his own life. In this film, a man who discovers news of his daughter’s death at the hands of her husband is urged to do justice himself, releasing his anger and pain.
A film made of collages. Collages of images, collages of poems to images, and collages of music to images. In this film, a journey is built through excerpts from popular Greek films from the 50s and 60s, poems by Greek authors and the music of Manos Hadjidakis.
What does it mean to be a Palestinian film director? Or a refugee director? What does it mean to make (or be able to make) films in Palestine? Three filmmakers, refugees in the Dheisheh camp, talk about their cinema. And they show it too.
A film about the moments and places that women from Kabylie (Algeria), who otherwise live in isolation from society, are able to find or live in where they can exist, sing, dance. Part of a bigger cinematic project on Kabylie.
Jérôme Noetinger is a French composer and improviser. Here, he stands before a camera lens in order to use a complex recording instrument to compose, in the moment, a symphony that results from fragments of captured sounds, radio, or static.
The coarse grain of the 16mm film composes images that demand more attention from our gaze. The camera takes us through the Paris metro, observing who is lonely, in love, in a hurry or tired of life.
The seventh of a film series in seven sequences. Each with a specific pattern and a reference to a political text. In this sequence, space for reflection is given under the sign of Walter Benjamin.
The city is unaware of stillness; it changes, perishes, emerges anew, always in a state of becoming.
Luck Smith continua o interesse pela televisão do realizador Gusztáv Hámos – desta feita, o formato do video clip: uma fábrica metalúrgica é apresentada ao ritmo da ópera de Wagner Siegfried.
A stereoscopic experience which incorporates dissociative sequences that blur the distinction between fact and fiction.
In a kind of parallel world where the dead while away time alongside the living, Igor and Mrs Kah fall in love.
An exploration of people’s urban perceptions: the city as an organic system and all the interactions of its components.