Amateur footage, filming of dubious origin, chromatic alterations and hard-core details in an alienating and curious collage with sinister and gloomy voices reciting poems of the beat generation.
Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play.
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 ethnographic field report in which the Anthropologist describes the mythic creation of an unnamed ‘sun-scraping structure’ through the ritualized actions of the Red and the Blue Gods.
An experimental documentary about the spectacle of substance abuse on social media. More than 45 hours of footage, hundreds of pages of blog posts and interviews were distilled and remixed using glitch and cut-up techniques to insure anonymity, transcend the shock factor and unfold this complex, singular and stratified use of social media.
Terra Incognita is a lensless film whose cloudy pinhole images create a memory of history. Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.
Drawing on VHS tapes of a programme hosted by her mother on Bulgaria’s national television, the filmmaker gives a pop-style and in-depth chronicle of the gentle – even “over-gentle” – 1989 revolution.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.
Sam Moran is a Honolulu charter-boat captain who leads fishing expeditions in the tropical paradise. When his daughter is found murdered at the party of a wealthy young playboy, he seeks the truth about the murder.
Documentary by Juan Francisco de Lasa about a pioneer of Spanish cinema. Gelabert attended one of the first sessions of the Lumière's cinématographe in Barcelona.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.