Feeler

This Documentary goes over how the special effects in the 1981 film "Scanners" were done.

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.

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

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 three female protagonists present their personal relationship with intravenous drug use, and their intimate confessions are filled with fear and insecurity but also love for the state of intoxication. Ambient music in the background and colourful textures multiplying over shots of the everyday reality of drug users create an almost dreamlike world. “I won’t feel the full effects the whole night, but it will help take my mind off things.”

Featuring interviews with filmmakers and industry legends, discover the origins and evolution of The Joker, and learn why The Clown Prince of Crime is universally hailed as the greatest comic-book supervillain of all time.

fifteen zero three nineteenth of january two thousand sixteen explores how everyday routines and gestures are transformed when a mother loses her child in the violence impacting Swedish outskirts since the early 2000s. The film resists simplistic media depictions of the suburbs and shows how a home can hold both mourning and the mobilization of women to fight for their own and others' children.

A video project meant to highlight the human cost in Palestine.

End of adolescence, end of school, the last summer before joining the working world for a group of friends from the neighbourhood of Alcoitão, "BDA".

Autobiographical documentary by Juan De La Mar. Join me to plant myself back to live.

Maniac Summer consists of images and sounds recorded in Paris in the summer of 2009. It is a sprawling triptych without a beginning or end and with no specific subject or topic. The camera is positioned in front of a window and left running. It observes movements, registers noises coming from the street or nearby park, captures Chantal Akerman going about her business in her apartment: smoking, working, talking on the telephone. Fragments from the artist’s everyday life are featured in the installation’s central video, while the adjoining panels are more symbolically charged; in them, various images from the former have been isolated, modified and repeated. These abstract afterimages act as a kind of memory, looking back to the images in the installation’s centrepiece as so many shadows of its reality.