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Filmmaker and teacher, Stéphane Marti has been researching experimental cinema as an art form liberated of aesthetic codes and the economics of big budget cinema. His work is primarily focused on the themes of the sacred and the human body. An avid supporter of the Super-8 format, he has been fighting for its merits as a tool. He has used this format film after film and has been sharing his experiences with new filmmakers during his workshops at the Sorbonne’s College of the Arts (Paris I).

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

The disintegration of the Soviet Union and the failure of Communism has been symbolically documented by many tv reportages of removals of monumental public sculptures, but the citizens of Vilnius in Lithuania did the unexpected!

A little girl Assol met a wizard and it has been foretold: "... it will be a fine sunny day when a beautiful ship under scarlet sail comes and the noble prince will take you away from here. He'll take you to the world of your dreams, where you will be loved and happy." The neighbours told jokes about her, children teased her, but she waited for her prince. She trusted in the miracles and waited. Arthur Gray's rule was "if you can make a miracle, do it!". And he made a miracle for the wonderful romantic girl.

Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.

An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories. 

Heterophobia traces the quick fall into hell of Mariano. A young gay man who, having been first raped and then rejected by an heterosexual friend with whom he had vague romantic illusions, has a sentimental journey from initial guilt and messianistic will of redemption, through flaring spite, up through castrating rage, before arriving to a final conclusion: that the the only possible action against patriarchy is revolution. Made in the margins of the Argentine audiovisual community (from which some of the creative team have been effectively blacklisted). It was produced according to the precepts of guerrilla film making is a romantic torch song-not melancholic, but actually demanding a torch with which to ignite the world.

30 year old child enters the new city, riding on a donkey. He says he is the Savior. He has spent no time among men. He is trembling with cold. His clothes are soaked. His mother was overprotective ; his father conspicuously absent. He knows that he must face the mockery, refusal, ignorance and blindness of the men around him. They travel in gangs, in large numbers : soldiers, mercenaries or the like, on majestic, imposing horses. Everything is out of proportion to his thin, bewildered, innocent body ; he is the madman of the new city...

Obsessed with a general's wife, a clergyman has strange visions of death and lust, struggling against his own eroticism.

Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.

Shows a couple (Adam and Eve) and various objects, simultaneously, in time, space and movement.