As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.
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Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music.
"Fuyu no Chikai, Natsu no Matsuri - Takeoshi no Dai-Kusunoki" is set in the city of Takeoshi, and will center on two characters, a boy and a girl, who grow up watched over by a large camphor tree that endures the time and seasons.
Commissioned by the U.S. Office of War Information, this short film features conductor Arturo Toscanini leading the NBC Symphony Orchestra, tenor Jan Peerce, and the Westminster Choir in Verdi’s Inno delle nazioni.
Between reality and animation, the story of Nidhal is told, a young homosexual Tunisian who defended individual freedoms in Tunisia through his work in radio.
Featuring sit-down interviews with experts and historians, follows the story of the Japanese American soldiers of WWII who fought for the ideals of American democracy.
In 1981, seven Libyan exiles formed the core opposition group to Colonel Muammar Gaddafi. Thirty years later, they are back to their country only to inherit the mess he left.
Baasha dies just few days before the assembly by-Election for Mylapore constituency while the election campaign by the political parties are in full swing.
A soldier, which army, which era, unclear. What’s clear is the evil he’s done. Faced with his impending mortality, he fears being judged in the afterlife.
For more than a decade, Reichsmarschall Hermann Goering, Adolf Hitler's right-hand man during the infamous Third Reich, assembled a collection of thousands of works of art that were meticulously catalogued.
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