Emin's video CV is an accompaniment to her work on paper, Tracey Emin CV 1995 (Tate T07632), which is a potted history of the artist's professional and emotional life from conception until 1995. This CV, read aloud by Emin, constitutes the sound-track to the video and provides contrasting background to the visual information on display. As Emin narrates her story of trauma and abuse, mixed with pleasure and success, the video takes the viewer on a journey through the artist's home. The artist is not visibly present in person until the last frames when she appears curled up naked on the floor of her sitting-room at the feet of her mother (who wears black sunglasses and looks away from both her daughter and the camera). Like Emin's handwritten CV, the video constitutes her self-portrait, in this instance adding the component of a journey around the space of her apartment to her narrating voice. -Tate
The first rule is that there are no rules. For the bare-knuckle combatants competing in Musangwe fights, anything goes - you can even put a curse on him. The sport, which dates back centuries, has become a South African institution. Any male from the age of nine to ninety can compete. We follow a group of fighters as they slug it out in the ring. Who will be this year's champion?
Takashi Morishita, a temporary worker at an automobile factory, lives a happy life with his wife, Akiko, and their daughter, Sakura. However, COVID-19 causes an unprecedented economic crisis in Japan. Takashi loses his job. Unable to find new employment, he is forced to move out of his company housing, and his wife finally asks him for a divorce. Having lost his house, his job, and his family, Takashi has no choice but to take up residence in a rental storage room.
Morbius Jr, now an OId Man, is nearing the end of life, when he finds the last hope for all Morbkind. However, as he fights to protect the future of Morbheads, he finds himself facing off against an unlikely of enemy... HIMSELF.
The third installment of SD Gundam shorts.
Mobile Suit SD Gundam Mk. II delivers with more tongue-in-cheek humor than the first series. In "The Rolling Colony Affair," a colony is hosting a cabaret show featuring the girls of Gundam. But the show turns disastrous when men and mobile suits go crazy over the girls, sending the colony rolling out of control. A parody of the videogame RPG genre, "Gundam Legend" has Amuro, Kamille and Judau sent on a perilous quest to rescue the princess of the Zeta Kingdom from Char Aznable and his vicious Zeon MS forces.
Esben Lykke-Seest is a school boy who gets in trouble at school when a classmate put the teachers watch in his pocket. In fear of punishment he runs away at sea and starts his adventure....
An unexpected visit from an old friend and a protracted tea party disrupt the amateur musician's plans to take his life.
As a soccer star back in the day, Eugenio used to be known as “The Gazelle” for his speed and dexterity in the field. He retired young, unable to score a trophy. Now 72 and living in a retirement home, Eugenio is determined to win a dance contest with the help of his partner Carmen and his openly gay instructor Daniel.
Natasha sets out to break up with four of her five boyfriends in a single day. There’s Victor, the melodramatic poet. Jack, the angry laborer. Tom, the friend with benefits. Winston, the nice guy. As Natasha’s story progresses, we begin to experience her world and its inhabitants, while finding out exactly what it is she wants. Ultimately it is a story detailing the frustrations of being young and in search of love.
The SD Gundams are at it again: first with a race among all of the prior SD Gundam characters, then the SD Zeons run a space travel agency in the second episode.
Migrating by sea from Holland as an eight-year-old, Dirk de Bruyn went on to be a doyen of Australian experimental cinema. But as this intimate film reveals, his work is suffused with the trauma of migration, and the struggle to recognise himself as a ‘new Australian'. In conversation with documentarian Steven McIntyre, Dirk guides us through more than 40 years of his filmmaking: the early years exploring technique and technology, a subsequent phase of unflinching self-examination brought on by upheaval and overseas travel, and more recent projects where he attempts a fusion of personal, cultural, and historical identity. What emerges is an inspiring, rugged, and at times poignant portrait of an artist committed to self-expression and self-discovery through the medium of film.