An experimental and poetic portrait of a woman.

It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.

As Black and LGBTQ+ History Month begin this February, material science clothing brand PANGAIA leads celebrations with a poetic film that honors these two communities. Following a year of isolation, and with it a deeper understanding of the importance of outdoor spaces and the environment, Wè is a portrait of the self-love and acceptance we have learned to show others and gift to ourselves.

"With characteristic wit and rigor, experimental filmmaker Larry Gottheim here applies his impressionistic editing style to footage collected during his travels in the Dominican Republic. Gottheim’s formal emphasis on repetition and fissures between sound and image resonates here as a mode of sociological reflection (with the fragmentary montage mirroring elements of ritual while also destabilizing the ethnographic gaze). A largely overlooked antecedent to the contemporary blending of avant-garde and ethnographic filmmaking, MACHETTE GILLETTE… MAMA still poses a potent challenge to documentary convention." - Max Goldberg

An experimental film about life on earth as a cosmic experiment and the curiosity and naivete of reaching out to alien life.

Footage filmed in Spain, subjected a new visual effects process. Deslaw devoted himself to the discovery of a new machine that enabled film to be developed while using a new method called solarisation.

An anthology of one-minute films created by 60 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Return to 'burn' only to find out you're already in that urn.

Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.

A thrillingly lo-fi salute to the old-school, hand-crafted special effects that were once a mainstay of pre-CGI science-fiction films.

A silent film portraying winter across three continents.

Still Life gazes unflinchingly at the violence of war, observing the eerie architecture of the West Bank and Gaza Strip collapsed under Israeli occupation. This portrait provides brutal witness to how government sanctioned destruction metes upon structures of home and State. Unlike the mediated images of current warfare, Still Life examines the effects of the destruction of Occupation through the details of cinematic landscapes and its inherent inhabitants. In its relentless questioning reaffirmed with a unique and unremitting soundtrack by composer Zeena Parkins, Still Life forces us to focus on details of devastation.

A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of the rituals of devotion.

A moving recording of the late writer and renowned jazz singer Abbey Lincoln is captured in this new film from Brooklyn-born director Rodney Passé, who has previously worked with powerhouse music video director Khalil Joseph. Reading from her own works, Lincoln’s voice sets the tone for a film that explores the African American experience through fathers and their sons.

Taking its title from the poem by Wallace Stevens, the film is composed of a series of attempts at looking and being looked at. Beginning as a city state commission under the name and attitude of “Unschool”, the film became a kaleidoscope of the experiences, questions and wonders of a couple of high school students after a year of experiences with filmmaker Ana Vaz questioning what cinema can be. Here, the camera becomes an instrument of inquiry, a pencil, a song.

A first feature based on sexual events. An actress undertakes her desire of directing her first movie, without a budget or any production company funding her project. She gathers a group of professional actors and actresses, and proposes a project based on a very particular experience: stepping on their fears through a metaphorical 'leap of faith'. As the project advances, individual conflicts will arise affecting the shoot, making the movie crew wonder whether or not they should go on. Will they take the leap of faith with all its consequences?

Drops of fire that create a universe of magmatic asteroids. Liquid and gravitational reality. Cosmic energy. Atomized Rhythm. Neurons of a liberated unconscious. Elimination of the idea of "soul" as "everything", reducing it to the condition of units of energy in perpetual process, elementary particles, without duration, that arise in perfect dependence. The "I" as a stream of units of force in ceaseless becoming that procures the illusion of an entity. Karmic chain. The idea that eternity resides in the transitory, the eternal belongs to it instantly. Eternity not as infinite duration but as absence of temporality. Universe of a mobile, procedural, relational and interactive nature of everything that exists. Here the "object" is conceived as something that is constituted, completed, lost and recovered with the vibrating rhythm of a universe in constant production.

"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.