Mi forma de mirar(2024)

Piaf intime(fr)

freestyle(en)

A rapper is given creative advice from his best friend.

Traces of Grief(de)

Shell-shocked Barbara must face up to the loss of a dear companion after a tragic accident. Her best friend Klara and husband Torsten devise a plan to thaw Barbara's heart, after she reminisces about the incident, the funeral, and happier times. Will she agree to the suggestions of her nearest and dearest? Can grief turn into hope?

Song 5(en)

SONG 5: A childbirth song (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).

Maria by Callas(en)

Told through performances, TV interviews, home movies, family photographs, private letters and unpublished memoirs, the film reveals the essence of an extraordinary woman who rose from humble beginnings in New York City to become a glamorous international superstar and one of the greatest artists of all time.

Torremolinos 73(es)

Set in 1973 Spain, a struggling encyclopedia salesman and his wife take advantage of an offer to make adult films. The act turns him into an aspring legit filmmaker and her into an international sex symbol.

Ritratto di Rosa, all'italiana(it)

"Ritratto di Rosa, all'italiana" stands as the second act of the trilogy begun in 2019 with "Portrait de Rosa, à la française." The poetry of the first chapter is replaced by a melody that takes the viewer back among the waves of a journey, among rocks and shells. A song full of love and hope from the past, setting the end of youth and the beginning of maturity.

Lost Images: The Other Eye of Juan Pinzás(es)

The filmmaker Juan Pinzás goes on a physical and also inner journey, in search of some lost images that he filmed in the 80s. The journey takes him from Madrid to Galicia and on the search for these images he meets with various characters who will help him in his undertaking, such as the actors Paul Naschy and Javier Gurruchaga whose personal worlds will be examined in the film. Finally in Vigo, his home city, of which he presents a remarkable portrait, he finds an old film in Super-8mm with the missing images. The catharsis is produced with the viewing of the old film which turns out to be a tribute to cinema and this means the end of the filmmaker's introspective journey.

West Beirut(ar)

In 1975, the long slog of civil war has recently begun in Beirut. Two friends, Tarek and Omar, suffer during the Lebanese civil war. Conflicts arise when they decide to cross from West to East, crossing the Muslim-Christian line that divides Beirut.

Camera Buff(pl)

Filip buys an 8mm movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen when he is sent to regional film festivals with his first works but his focus on movie making also leads to domestic strife and philosophical dilemmas.

I Can't Wait Until It's Dark!(ja)

Three cinephile university students have a go at making their own Super-8 film.

Everyone Stares: The Police Inside Out(en)

Stewart Copeland, drummer for The Police, compiles his Super 8 footage to offer an intimate look at what it was like to be a member of one of the most important rock bands of all time.

Must Read After My Death(en)

A grandmother dies and leaves behind hours of secret film and audio recordings as well as an envelope with the words “Must read after my death,” which reveal a dark history for her family to discover.

Reality 86'd(en)

Three bands and crew (a combined total of 13 individuals), 2 Dodge Ram extended cab vans, one equipment truck, one PA system traverse the continental US for six months. A road documentary shot from the inside of the last Black Flag tour ever (the 1986 “In My Head” US tour.) Featuring behind the scenes proceedings and live performances from Black Flag, Painted Willie, and Gone. David Markey was along for the entire trip as the drummer / singer for Painted Willie, documenting the six month tour with his Super-8 camera as it happened. Also features roadie Joe (“Planet Joe”) Cole, soundmen Davo Claasen and Dave “Ratman” Levine, and the tour manager who kept it all together, Mitch Bury. A crucial turning point in American underground rock. The end of the line for a trail blazing American band. Shot in 1986 and completed by director David Markey in 1991 for We Got Power. (futuristika.org)

Desperate Teenage Lovedolls(en)

Two girls rediscover their love for playing rock, find a drummer and begin practicing. When one of their mothers intervenes, they run away from home and are forced to fend for themselves on the streets against gangs and rival bands. Soon they are discovered and taken under the wing of rock manager Johnny Tremaine (played by Steven McDonald) who uses them for sex and his own aspirations of wealth. The Love Dolls set out to get revenge on those who have wronged them, and rise to the top of the rock world.

Familiar Phantoms(ar)

Familiar Phantoms is an experimental documentary short film about memory, history and trauma.

Exposure(en)

Set in an alternate, post-apocalyptic 1976, a filmmaker follows a worn and disillusioned photographer who, despite the circumstances, continues to make pictures.

Memorial Time(en)

A man reflects over his life during a burial.

Lost Boundaries(en)

Lost Boundaries is comprised of footage shot by Julien on location, in England in the summer of 1985, during the making of the Sankofa film and video collective's first experimental feature film The Passion of Remembrance (1986), which he co-directed with Maureen Blackwood, another member of the collective. In recapturing those moment Lost Boundaries both deconstructs and foregrounds the means of 16mm film production while weaving together a fragile community of Black artists and actors who came to prominence at a time when debates in film theory - such as those of the Screen film journal and of "third cinema" discourses where cinema was intertwined within (Brechtian) filmmaking practices - were at the forefront of forging a new politics of artistic representation. A Black avant-garde.

Aunty CB(en)

Shot on Super 8, Aunty CB is a memory montage of a woman’s stream of consciousness and her honest introspection surrounding gendered family dynamics and childhood trauma. Framed as a confessional monologue, Singlish, Hokkien, and English are employed to capture a linguistic and vernacular portrait of the eponymous character.