Muse

Martha Stephens and Aaron Katz's buddy comedy Land Ho! follows former brothers-in-law Mitch (Earl Lynn Nelson) and Colin (Paul Eenhoorn) as they travel through Iceland. The pair of 70-year-olds find themselves in need of an adventure to break out of their rut, and soon the extroverted Mitch has talked Colin into the trip. Along the way they have various amorous encounters, and attempt to recapture the spirit of their youth.

Sam, a shy young man, finds himself in a slow-motion world. Trying to restore the time, he fails. The circumstances bring him to rescue his coworkers, and Nathalie, the girl he secretly loves.

Mrs. Emily Pollifax of New Jersey goes to the CIA to volunteer for spy duty, being in her own opinion, expendable now that the children are grown and she's widowed. And being just what the department needed (someone who looks and acts completely unlike a spy), she's assigned to simple courier duty to pick up a book in Mexico City. But when the pickup doesn't go as planned, Mrs. Pollifax finds herself handcuffed to a handsome stranger on a plane bound for an Albanian prison. And it's up to her to get them out.

Adrian and Duru get lost in the characters they play in an apocalyptic film and embark on a secret mission to end the world for real. Second entry in Adrian Țofei and Duru Yücel’s trilogy which includes Be My Cat: A Film for Anne and Pure.

Mona relates her dream. Crawling through an apparently endless wooden crate, she encounters diverse characters while the crate itself is moving towards a fiery destruction.

Some Must Watch While Some Must Sleep is a hypnotic and oneiric cinematic poem composed from footage Michael Higgins shot on the road across Alberta and BC, Canada. Photographed on Super 8mm and using hand-processed film techniques to create an unworldly zone between sleep and wakefulness, it looks at three characters and the film’s material that connects them. It is a film that invites the viewer to sleep with the film’s protagonists, to drift across into the dream world of the film’s material and lose touch with their current surroundings.

Kinkón (1971), a silent adaptation of Merian C. Cooper and Ernest B. Schoedsack’s 1933 classic, King Kong. Zulueta re-filmed a television broadcast of the original, and through creative subtraction and manipulation of camera speed, condensed the original’s feature length to an intensified seven minutes. The cathode-ray flicker and flattening that results from the re-filming defamiliarises the original, but its classical continuity mode of address continues to operate on the viewer, and the increase in velocity makes mesmerisingly urgent the dramatic plot of the original. —Senses of Cinema

The first collaboration between Matthew Barney & Elizabeth Peyton, Blood of Two is a unique, site-specific work that draws its references from Hydra itself – the surrounding environment, animals, humans, and local traditions are all part of the project in equal measure. Blood of Two centers on the former function of the Slaughterhouse and the customs of Hydra to establish connections between paganism and religion, ancient and modern, the ritualistic and familiar. As much as its conflicted terms strive for balance and fusion, it is Blood of Two’s greater resistance to these impulses, its failure to surrender unconditionally to them that ultimately counts, as a network of overlaps and crisscrosses.

The last film prohibited by Francisco Franco. Jean-Marie Buchet plays the role of a collector of used tampons in this avant-garde comedy-adventure film.

Shot on 16mm celluloid across parts of New Zealand and Samoa, interdisciplinary artist Sam Hamilton’s ten-part experimental magnum opus makes thought-provoking connections between life on Earth and the cosmos, and, ultimately, art and science. Structured around the ten most significant celestial bodies of the Milky Way, Apple Pie’s inquiry begins with the furthest point in our solar system, Pluto, as a lens back towards our home planet and the ‘mechanisms by which certain aspects of scientific knowledge are digested, appropriated and subsequently manifest within the general human complex’. Christopher Francis Schiel’s dry, functional narration brings a network of ideas about our existence into focus, while Hamilton’s visual tableaux, as an extension of his multifaceted practice, veer imaginatively between psychedelic imagery and performance art.