Playlist
<p>Sumo, one of the top bands in Argentinian rock, as they prepare for and play a historic concert: presenting their final album at the legendary Obras arena, recorded a couple of months before the death of their frontman, Luca Prodan.</p>
<p>A letter is sailing to the shores of the river Plate. On dry land, messages turn to tragedy. A small fishing village whose life is upended by a murder. The documentary and detective genres merge to create this story of love and intrigue.</p>
<p>An epistolary documentary that reconstructs the memory of the exile of two sisters, architects, separated by the last Argentine military dictatorship, after Julia escapes to Formosa, in northern Argentina, and Claudia to Lund, in southern Sweden.</p>
<p>There is a south-facing house in Gyeonggi Province. In this house, there are four people: my mom, dad, grandfather, and me. They spend their days in their own space. Sounds traverse the house, both from inside and out.</p>
<p>Having lost her memory, A. could barely recall glimpses of her childhood in Argentina. After her death, her son visits the empty house for the last time. A sensory walk through permanence, passing, and the scattered pieces that make the self.</p>
<p>Sofía, a young journalist, is making an “artistic documentary” about the Chilean army. She finds herself caught between her grandmother and another woman, whose views on the military legacy are radically opposed. A hallucinatory dive into the country’s torn history.</p>
<p>The course of the river Guadalete in Cádiz province, Spain, from the mountains to the sea: a catalogue of landscapes that hide other landscapes, a collection of inter-dimensional gateways (and picture postcards) that blend real action and animation.</p>
<p>Emilio interviews his family members about the death of his paternal great-grandfather due to the mining disease called silicosis, which will lead everyone to give their particular opinion about their connection with faith, death, and remembrance.</p>
<p>We stand at the edge of the world each day. After the world ends, a new day and world begin. The days lost their connections long ago—there is no tomorrow or yesterday, only fragmented todays. What lies at the end of the path through these fragments?</p>
<p>No wonder it is called a crime scene. Any collection of materials alters the meaning of things, from relics to scraps and vice versa.</p>
<p>The road, the house, the key, the animals, Bamssi. Images as urgent as an Instagram story create a dialogue within the family across the sea: Mourad and Fairuz, Tunisia and abroad. Time passes both slowly and quickly.</p>
<p>In an abandoned archaeological site in the heart of Marseille, the director records the traces left by passing inhabitants, in the fortuitous beauty of the mattresses and blankets piled up he finds an echo of the recumbent figures. We thus enter the universe of Pierre Louapre, in his research around the blind spots of our daily geographies: wastelands, ruins, squats. His gaze rests on the footprints left by those who are sent back to these remote places, as well as on the objects that keep their intimate memory. In a gesture of personal and free cinema, Pierre Louapre fixes the hidden and ephemeral grace of these spaces of otherness that flourish in the cracks of norms and control.</p>
<p>Berlin, 1974. Walter Asmus, a young 32-year-old director, assists Samuel Beckett, 68, for his first personal production of Waiting for Godot . Very quickly, the professional understanding becomes a friendship that will last until the writer's death. It can be said of this film, without being mistaken, that it tells the story of this friendship. He does it in the manner of Declan Clarke, according to his routine: in fixed shots, in 16mm, in the present tense, by articulating visual and sound description of the places, presentation of archives, and objective narration of the facts. The archives are those of Asmus: postcards received from Beckett, annotated scripts of the plays they staged together, etc. The places are those of Beckett's routines during his stays in Berlin or Stuttgart: studios, restaurants, parks. Sobriety, factuality. But because Declan Clarke is one of those filmmakers who know how to create feelings while sticking to the facts, If I fall don't pick me up converts the chronicle into a poignant eulogy, not of a man, but of a relationship and the values that found it: loyalty and fidelity, sobriety and rigor. And because these values have always informed the artist's life and practice, a strange mutation occurs before our eyes - a revelation: the world seen by those of Declan Clarke is Beckettian. This world of modernity, or what remains of it, these empty, deserted places, these minimal architectures, form a frozen setting waiting for a play by Beckett. Directed by Asmus. And if the film begins in the Wicklow mountains and ends on the stage of the Gate Theater, in Dublin, it is because the exercise of admiration is also, despite its author, a very indirect self-portrait. All modesty and restraint. " Hold back! " » Declan Clarke, like Walter Asmus, has learned the lesson of the great Sam. Cyril Neyrat</p>
<p>Amine, a Palestinian elder, is exiled twice from land and labour. He is displaced from his birthplace Haifa seeking refuge in Beirut, and again to Zirku Island, for work on an offshore oil platform and work camp in the Arab Gulf. "A Stone’s Throw" trespasses borders to reveal an emotional and material proximity between the extraction of oil and labour in the region and the Zionist colonization of Palestine. The film rehearses a history of the Palestinian resistance when, in 1936, the oil labourers of Haifa blow up a BP pipeline.<br /> —Razan AlSalah</p>
<p>Portales follows the course of the Guadalete river in Cádiz, Spain: a catalogue of landscapes that hide other landscapes. A collection of inter-dimensional portals (and postcards). Live action and animation fuse, creating an impossible fauna and flora.</p>
<p>In an attempt to reclaim pasture for their cattle, the inhabitants of an ecovillage in Navarre decide to cut down a pine grove planted as part of a state-funded reforesting initiative. In this fierce and sensory work, the filmmakers capture an adversarial process which uses deforestation techniques to transform a territory.</p>
<p>Two lame people in their sixties bump into each other in the street. They never leave each other’s side, strolling along at breakneck speed, attentive to every little thing in their path. Small production, big emotion.</p>