Sophie is a hunted, traumatized woman. Seeking to escape her reality, she lands in an Airbnb hundreds of miles from her home. She is welcomed there by Martin, who occupies the premises with his aunt, Louise. Over the course of drunken evenings, tongues loosen and a disturbing complicity emerges between the man and the traveler... What if Sophie's presence in this remote bled was not so fortuitous?

In the summer of 1933, looking for better opportunities, Irma comes from the countryside to the city to her cousin Lonni. Irma is excited about the change of environment, while Lonni is disappointed with city life and sees Irma's arrival as a new freshness for herself. Rudolf, a middle-aged printer, hires young Irma as a maid in his luxurious apartment. The man's charm and mystery fascinate the girl, and pretty soon feelings ignite. They get married, but then inconsistencies in Rudolf's behavior begin to appear, which puts Irma, who dreamed of true love, in an extremely difficult situation.

Teresa (María Vázquez) changes her vacation plans to spend the summer with Ani, her mother (Adriana Ozores). Living together day and night after so many years is not easy for either of them. Accustomed to living alone, it is difficult for them to agree on even the small things of daily life. However, the forced coexistence will also bring revealing moments for both.

A karmic journey that sees the hapless heroine Agnes reincarnated every time she makes the same mistake: falling in love with the wrong man.

On an abnormally hot summer day in Oslo, a strange electric field surrounds the city as a collective migraine spreads across town and the newly deceased awake from death.

The extraordinary story of Amy Winehouse’s early rise to fame from her early days in Camden through the making of her groundbreaking album, Back to Black that catapulted Winehouse to global fame. Told through Amy’s eyes and inspired by her deeply personal lyrics, the film explores and embraces the many layers of the iconic artist and the tumultuous love story at the center of one of the most legendary albums of all time.

Rona, fresh out of rehab, returns to the Orkney Islands; a place both wild and beautiful right off the Scottish coast. After more than a decade of living life on the edge in London, where she both found and lost love, Rona – now 30 – attempts to come to terms with her troubled past. As she reconnects with the dramatic landscape where she grew up, memories of her traumatic childhood merge with more recent challenging events that have set her on the path to recovery.

Comedian Jacqueline Novak delivers a funny and philosophical meditation on sex, coming-of-age and a certain body part in this intimate stand-up special.

For nine months German filmmakers and performance artists, Birgit and Wilhelm Hein lived in New York. LOVE STINKS is a very personal, deeply disturbing, and often shocking record of their visit. “For many people it will perhaps be depressing at first sight, but it was created from a tremendous strength.”

Laura and Massimo's relationship hangs in the balance as they try to overcome trust issues while a tenacious Nacho works to push them apart.

Three couples at different parts of life navigate big turning points in their lives over the holidays.

Based on the life of Sam Manekshaw, who was the Chief of the Army Staff of the Indian Army during the Indo-Pakistani War of 1971, and the first Indian Army officer to be promoted to the rank of field marshal.

Ariadna discovers that her grandfather has been searching for the remains of his father, who disappeared during the Civil War. Determined to help him, she travels to Burgos, where a mass grave is being excavated, and where he could be buried. During her stay there, she will learn the story of Antoni Benaiges, a young teacher from Tarragona who was her grandfather's teacher before the war. Through an innovative pedagogical method, Antoni inspired his students and made them a promise: to take them to see the sea.

At a school, two 9-year-old Chinese girls meet at the beginning of the course. Everyone assumes that they will become friends, but absolutely nothing brings them together.

A girl finds herself inside a fashion magazine – Joanna Hogg's graduation piece at the National Film and Television School starring a then unknown Tilda Swinton.

A series of shots in a California desert landscape in which there is a play between on frame and off frame, sound and image. There is an effort to create the space of a story, without a story, by the use of real time/diegetic sound. Love is felt as a force that determines the arrangement of the figures in the landscape.

A woman goes to great lengths for the role of 'Clipboard Woman'.

Award-winning musician Björk and legendary broadcaster and naturalist Sir David Attenborough have admired each other's work for years but this is the first time they have discussed their mutual love of music and the natural world on screen. In this remarkable documentary, Björk explores our unique relationship with music and discovers how technology might transform the way we engage with it in the future.

Si Nos Dejan, a 10-minute short commissioned by Miami’s BorschtCorp, is arguably Rowlson-Hall’s most ambitious piece to date, a string of scenes revolving around a man and woman dressed as though for a wedding, embarking on the strangest nuptial ceremonies that you will ever see.

Prom night is ritual, disco balls, expectation, corsages, dresses, holding, sweating, status, entering in twos, balloons, school gyms, dancing slow and fast.

In a prelude to the series of the same name, Bryan Brown introduces stories of the bizarre and the supernatural. Sometimes serious, often comical, but always with a twist at the end of the story.

Expanding a system; enhanced excerpt from "Internal System" with optical sound track and video raster in frame. 1974-2010

"Highly idiosyncratic and deeply creepy, this series as a whole – which includes passages in both film and video, sometimes shown concurrently – represents the most exciting recent work in the American avant-garde, a saga that raises questions about everything while making everything seem very strange." - Jonathan Rosenbaum

Made in memory of the actor and my friend, Ron Vawter. Ron passed away shortly after the opening performances of the play "Philoktetes Variations," directed by Jan Ritsema and co-authored by Ritsema and Vawter. It was produced by the Kaaitheater in Brussels. All of the images in this video were originally created for the play.

Arrows uses a combination of live action and rostrum work to communicate the experience of anorexia and to analyse the cultural causes of the condition. 'I am so aware of my body', we are told on the soundtrack, whilst images of caged wild birds are intercut with images of the rib cage of the film's subject, the film-maker herself. The pressures placed upon women to be thin are articulated by an account of a new technique for surgical removal of fat. Once again, a woman who does not conform to male expectations in terms of her body-shape is classified as sick, in need of surgery. The constantly recurring motif of cages, bars and railway lines reiterates the feeling of entrapment throughout the film. Yet, taking the camera into her own hands, and revealing this process to the spectator by using a mirror, the film-maker shows herself in control of this representation of a woman's body.

Cast as an “electronic erotic seductress,” the multiple costumes and roles performed by Jonas critically examine the ever-changing, but consistently unequal roles of women. The camera gazes at Jonas, implicating the viewer in the work and further, with her body. Her intentional de-synchronization of the monitor's receiving and transmitting frequencies results in the on-screen image's repeated vertical descent. Creating a sense of fragmentation, the vertical roll relentlessly pounds at the images of the artist as she moves through a series of performed identities. Characterized a "disjunctive self portrait" by the Electronic Arts Intermix, the image content of the work is strongly mediated by the mirror-like function of the camera, scrutinized by the lens and subjected to violence by the vertical roll.

A visual duet consisting of a 16mm film and a 16mm photogram self-portrait collage. It is inspired by earthly pleasures and wonders as revealed in the vibrant marvels of Stan Brakhage's cinema and in the central panel of the 1504 triptych by Hieronymous Bosch titled “The Garden of Earthly Delights.”

Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.

In this modern-day vision of Mother Mary's pilgrimage, a woman crosses the American Southwest playfully deconstructing the woman’s role in a world of roles.

Eye candy as a special treat. Let Your Light Shine is the ultimate Spectrum Short film, a photokinetic stroboscopic spectacle for spectacles. A work in the tradition of the absolute animation film of the 1930s, which requires prismatic glasses to achieve the maximum result.

A swimming study of paisley patterns traces this decorative motif from its origins in Persian weavings to appearances Irish quilting and American Counterculture. Extending on the stroboscopic tradition of anti-animation, this short material study fixates upon discarded materials to examine the decorative and its relationship to the cycles of industry and evolving modes of production. - Jodie Mack

“Intended as a longer film, this proved sufficient to vignette the nuances of my sadness.” -Anne Charlotte Robertson

“I am interested in making films that explore intimate places of the interior. For me, the combination of visual and aural abstraction is sublime, a means of forging pathways without a path, journeys devoid of compass bearings, invoking mysterious and unearthly transports. I am interested in making work that has no points of reference, where scale replaces structure and time is experienced rather than counted. Glide of Transparency is a film in three movements, an exploration of color and light. Ultimately, it is a film about love and transcendence.” (bb)

With this film I wanted to pay homage to Yann Beauvais for his having, on top of his own work as an artist, against all odds, lack of funds or recognition concerning the field in question, made an important contribution to make known, as much by his writing as by his presenting and distributing, works by other authors. In hurrying and neglecting an infection on my right thumb, I had to film more or less with one hand and then spend two days in hospital. I can only think that the making of this little film reflects all the difficulties previously faced by Yann himself.

The macrocosm present in QUASAR is a non colonized outer space. A non science-fictionalized outer space. It is a space of fantasized stars and galaxies, black holes and light particles. It is a space of hypnotic contemplation and dissociation of the subject from the self. Immersion into macrocosmic vibrations, rotations, contractions, into slow and curved time patterns. Non linear, non climactic time. Outer-inner skies.

“Requiem pour le XXè siècle” is a manifesto against war. It is an elegy. The photograph is connected with images that are part of our collective memory: extracts from newsreels of World War II that have been reworked and transformed through various optical and electronic processes. World War II was a condensation of violence (biological and environmental destructions, racism, ethnic clearing, and persecution of people who are different…) and ongoing wars perpetuate that violence. This work is a metaphorical representation of all past, present and future wars. Constructed on the dramatic tension between the violence of wars and the presence of the intersex hermaphroditic “Angel”: Their eyes are bandaged; they are a symbol for difference, having an ambiguous position: observer, witness, victim or judge.

Laida Lertxundi continues her exploration of the American West with the intimately scaled 025 Sunset Red, which folds in autobiography as she looks back to her parents' radical activism in Spain.

Chronogram is a photomontage that explores stillness, motion, and memory. Using a 35mm still camera, multiple exposures were composed and edited in-camera, creating frameless sequences of images printed on 35mm filmstrips. When projected, these images become a non-linear, non-synchronized collage. The ephemeral quality of the images—their transparency, layering, and repetition—invites us to reflect on the role memory plays in perception, the ways we mentally reconfigure fragments to construct stability and meaning in an environment of perpetual flux.

Influenced by filmmakers as diverse as Ed Pincus and Carolee Schneemann, Anne Charlotte Robertson was a Boston area Super 8 filmmaker who examined and shared her life through her work – a mix of essay, performance and stop-motion animation. Diagnosed with various and changing mental disorders, Anne faced several breakdowns and mental hospitals – experiences she documented and exorcised thoroughly through her films – particularly within the annals of Five Year Diary, a project spanning nearly two decades. Though relentlessly intense and emotional, her films are not entirely bleak, for her bracing self-awareness and humor energize and bring a rare effulgence to the depths of her darkest moments. Anne boldly exposed her most intimate and obsessive inner dialogues – from illness, breakdowns and longing for love to diets, cats and the minutia of existence. She also considered the filmmaking experience therapeutic and cited the process as helping cure her depression.

Dense, addictive, multi-pass, colour printing with trees shorn of their leaves transformed into thirty six layer deep technicolour. Deep Red is an investigation into additive colour mixing on film. Handmade by a d-i-y silkscreen printing technique. Starting point are on black and white hi-con filmed trees shorn of their leaves. As if they're the reminiscent of branches seen flashing past in the night from the back seat of a car. Transformed into thirty six layer deep technicolour.

The creation myths of the Yekuana Indians of the Orinoco region of Venezuela provide a transparent look at the poetic process by which human beings construct meaning from their experience. Narrated by Stan Brakhage. Music and sound by Bruce Odland.

Three women Smita, Giulia and Sarah from different parts of the world who have never met but they are bound by something intimate and unique.

Rome, Italy, June 1993. Antonietta De Lillo and Marcello Garofalo interview legendary Italian film director Lucio Fulci (1927-96).

Barbara O’Brien, an Irish Catholic mother, has her life turned upside-down when her son, a freshman in college, is involved in a tragic hazing incident. Taking justice into her own hands, she travels across the country recording mothers who have lost sons to hazing in an effort to prove the university’s liability. When she is confronted by corruption and cover ups, she seeks revenge on the one person she finds truly responsible, proving that hell hath no fury like a mother scorned.

After a twist of fate brings their families together for Christmas, Charlotte sets out to prove her old friend Jackie's life is too good to be true.

The LIZARD-MAN myth has long brought curious travelers from across the globe into town, in search of the prehistoric beast lurking beneath the swamp.