Electric Eel

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

A rare "inside" view of a motorcycle club in Toronto, one of the network of such fraternal groups in the large centers across North America. The names they adopt (Satan's Choice is only one) are as individual as their special ethics and views of life, all freely expressed in this film.

This experimental short film deals with anguish, as imagined by Claude Péloquin, author, poet, performer and filmmaker, in the early 1970s. Vertiginous camera angles, oppressive places and a disturbing soundtrack, the filmmaker uses his sound environment and the words of the interpreter Josée Vanasse to express this generalized disease at a time of great acceleration and fury for life.

The short film is a montage of sped up clips of The Ringling Brothers Circus in action set to a musical track. The film is separated into four segments, each segment which focuses on different acts within the circus. The later segments often incorporate clips from earlier segments, mostly as background to the featured acts. The speed of the clips match the tempo of the soundtrack music.

Maricarmen is a writer who lives with schizophrenia since she was seventeen years old. The film is a portrait of her live, her illness and her work.

Shark expert Neil Hammerschlag and a crew of researchers search for an elusive hammerhead shark.

Two ten year-old boys are detained by police under suspicion of abducting and murdering a toddler.

DIYSEX is a film that reflects on the use of the image and the language of mainstream pornography, and wonders how far this use can transcend when making your porn film.

A documentary essay on coming of age and the power of the unconscious. In the same vein as Sweatlodge Song, this is a message of courage and hope.

The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.

2020, in global confinement in the face of the Covid-19 pandemic, in CDMX women decide to give birth in their own home. The film is an intimate witness of life, which, despite everything, prevails.