Mathilde

A young girl turns into an A-List celebrity over night when her private journal is accidently published and becomes a best-seller.

Filmmaker Jonas Mekas films 160 underground film people over four decades.

Nanni Moretti recalls in his diary three slice of life stories characterized by a sharply ironic look: in the first one he wanders through a deserted Rome, in the second he visits a reclusive friend on an island, and in the last he has to grapple with an unknown illness.

An epic portrait of the New York avant-garde art scene of the 60s.

A young artist journals her surroundings in an attempt to discover the meaning of art.

Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

A short documentary project that attempts to encapsulate what it looks and feels like to be an American Teenager in 2022.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.