Playlist
<p>Adi and Güito portray a traumatic event that happened at a critical moment in their relationship. The staging will reveal that in spite of the couple’s apparent peace of mind, there are still some issues pending.</p>
<p>Experimental Animator Helen Hill found more than 100 handmade dresses in a trash pile on one Mardi Gras Day in New Orleans. She set out to make a film about the dressmaker, an elderly seamstress who had recently passed away. The dresses and much of the film footage were later flood-damaged by Hurricane Katrina while Helen was still working on the film. Helen was murdered in a home invasion in New Orleans in 2007. Her husband Paul Gailiunas has completed the film, which includes Helen''s original silhouette, cut-out, and puppet animation, as well as flood-damaged and restored home movies.</p>
<p>There is a popular Latvian folksong which begins with the phrase “I was singing out high on a mountain”. The irony of it is that according to physical geography there are no mountains in Latvia. So what exactly is the place where the Latvians are “singing out”? It may be safely said that it’s the same place where they are skiing. That’s how we make mountains out of molehills...Snow-covered mountains, to be sure.</p>
<p>A portrait of the last days of Welsh farming woman, Betty French. After a sudden visit from the ministry, Betty is forced to give up her farm, her animals, and the life she’s always led. This film focuses on the interactions, both comic and tragic between Betty, her animals, and the environment they share. It seeks to ask questions about these fragile symbiotic relationships and the difficulties that arise when they begin to break down.</p>
<p>Dr. Neal Goodman enables terminal patients' right to die through the practice of mercy killing via his one-of-a-kind device. But when he sets out to fulfill a mother's request to euthanize her "terminally-ill" daughter, he discovers that his procedure is the crux of an elaborate cult ritual that tests his ethics like never before.</p>
<p>This film is a newsreels. A newsreels which present some views, scenes, moments of the class struggle in Madrid: The 15 M. The 15 M is the first major “movement” in the beginning of this XXI century. A deep movement, trans-border and trans-historical, which come from afar, and reactive and work these ideas and concepts that were thought forgotten: demos, logos, revolution ... Plaza Puerta del Sol, 15 M, past and future meet in the present, where they are produced and constantly reinvented. To Madrid, Place Puerta del Sol, the countries of Europe and the world have turned like the flowers to the sun.</p>
<p>The stories on TV have penetrated so deep in the fabric of society that they actually build a part of history of a Nation outlining its character and problems, describing its deepest nature. The camera gathered fragments of daily life and now gives it back after years, still able to recount our society, inviting us to make a sort of anthropological study on the culture of television. “Un mito antropologico televisivo is an excuse to introduce television anthropology into the culture debate, reading the history of a country and its people through the archives of hundreds of private TV stations scattered throughout Italy. Otherwise this material would end up disappearing permanently”.</p>
<p>The political and personal epic of the Japanese Red Army is recounted as an Anabasis, a journey that is both a wandering towards the unknown and a return towards home. From Tokyo to Beirut amid the post-1968 ideological fever, and from Beirut to Tokyo at the end of the Red Years, the thirty-year trajectory of a radical fringe of the revolutionary left is recounted by two of its protagonists: May Shigenobu, daughter of the founder of the small group, and Masao Adachi, the legendary Japanese experimental director, gave up cinema to take up arms with the Japanese Red Army and the Palestinian cause In 1974. Two intersecting accounts, mixing personal stories, political history, revolutionary propaganda and film theory. Adopting an experimental documentary format, the accounts of May Shigenobu and Masao Adachi overlay new fûkeiron images, filmed in Super 8 in the contemporary landscapes of Tokyo and Beirut.</p>
<p>The Island of Saint Matthews is a 16mm feature film about the loss of family history in the form of heirlooms and photographs. Years ago filmmaker Kevin Jerome Everson asked his aunt about old family photographs. Her reply—that “we lost them in the flood” was the catalyst for this film, a poem and paean to the citizens of Westport, a community just west of Columbus, Mississippi, here seen and heard reminiscing about the 1973 flood of the Tombigbee River.</p>
<p>When a Vienna museum guard befriends an unmoored visitor from overseas, the grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world. The film is a narrative/documentary hybrid which seamlessly combines character study, city portrait, and essay film.</p>
<p>Gui aiueo:S is a band. They may not have instruments such as guitars or drums, but they use their filmmaking equipment to shoot a movie as if they were playing music together. That’s what they do as Gui aiueo:S. Now they have gone on their first journey. Travelling around in their van, dubbed ‘The Whale’, they record audio, shooting images and interact with the spaces and people they encounter on the journey. This is episode Zero. The maiden journey of Gui aiueo:S has only just begun; a journey to play the world…. Go Shibata</p>
<p>The truth is just a group of pixels, the result of a digital boom on blurred faces. And the camera filming the members of a public jury, facing a murder trial, is as lost as they are in the labyrinth of evidence, images and declarations, unable to film anything that is not of its own decomposition.</p>
<p>Jordi’s left arm and leg are almost unusable and he uses his disability to beg on the street. The portrayal of the character and his relationship with the author creates a fresco of today’s Spain, thrown into turmoil by the immigrant population and the economic crisis.</p>
<p>Northern Yunnan Province, China. Farmer Apuda, of the Naxi ethnic minority, lives together with his elderly and infirmed father. Amid the dim light in the darkened interior of their home, he helps him put on his clothes, light a cigarette, and get out of bed. As well as caring for his father, Apuda is kept busy tending to their fruit trees and drawing water. Occasionally one of the neighborhood elders stops by, grumbling about their own son’s lack of kindness. Observing this father and son living in a remote mountain village with a serene rhythm and rich imagery, it evokes the drama of life and death.</p>
<p>Not far from Madrid there is the Valle de los Caidos, a memorial conceived by dictator Francisco Franco in the Fifties. This site is still today the symbol of an unresolved conflict within Spanish society. Under the cross lie 35,000 victims of the Spanish Civil War, while approximately 50 children study in the nearby boarding school: they receive an education that desperately tries to resist the drift towards secularism and scientism of contemporary Spain and of global society.</p>
<p>A World Not Ours is an intimate, and often humorous, portrait of three generations of exile in the refugee camp of Ein el-Helweh, in southern Lebanon. Based on a wealth of personal recordings, family archives, and historical footage, the film is a sensitive and illuminating study of belonging, friendship, and family. Filmed over more than 20 years by multiple generations of the same family, A World Not Ours is more than just a family portrait; it is an attempt to record what is being forgotten, and mark what should not be erased from collective memory.</p>
<p>Dad’s Stick features three objects that my father showed me shortly before he died. Two of these were so well-used that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely.</p>