A young filmmaker, Vita, revisits her first chaotic attempt at filmmaking 15 years prior. Shooting a semi-autobiographical film starring her friend Dina, Vita’s eager but inexperienced approach causes the production to spiral into chaos, leading to significant disruptions and a near-fatal accident.
Caleb e Camilla Fang sono performer le cui creazioni scioccano il pubblico e deliziano gli appassionati d'arte. Protagonisti sin dalla più tenera età sono i loro figli, pedine fondamentali delle loro opere provocatorie spesso al limite tra il genio e la follia. A causa di queste esperienze, Annie (Nicole Kidman) e Baxter (Jason Bateman) ormai adulti si sono allontanati dai genitori, e, seppur a distanza, conducono esistenze parallele e altamente problematiche. I fratelli sono costretti a tornare a casa dai loro eccentrici genitori quando, improvvisamente, scompaiono nel nulla. La polizia teme il peggio ma Annie è convinta che si tratti di una nuova performance e che Caleb e Camilla abbiano finto la propria morte per dare vita all'ennesima, bizzarra, "opera d'arte". Mettendo insieme i pezzi del puzzle dei ricordi della loro infanzia, Annie e Baxter si mettono alla ricerca dei genitori, sperando di scoprire la verità su quanto accaduto e, magari, finire anche per ritrovare se stessi.
Conceptual visual artist Ján Mančuška died in 2011. However, in his short 39 years of existence, he managed to create a number of remarkable works, many of which have been exhibited in renowned galleries around the world – including the Centre Pompidou in Paris and MoMA in New York. In his homeland, however, his work reflecting everyday life, social reality or the meaning of language has never achieved comparable fame. Together with the children of an artist who was not afraid to confront the public with the question of the meaning of art, the director embarks on a journey that aims not only to get closer to Mančuška, but also to reveal him in hitherto unrecognised shades, thus filling in the gaps that are increasingly appearing in the context of the fading memory of his personality.
Artist Katinka Simonse, alias Tinkebell, is a controversial, very mediagenic phenomenon. In her universe there is no distinction between life, art and activism; Tinkebell is her own work of art. Everything she encounters on her life path can become part of her story. Filmmaker Judith de Leeuw was given access to all images about Tinkebell, including her entire private archive. She thus constructed an archive film about how as a human being, living on the ruins of the past, you can be a character in your own story. What is the price you can afford if you continue to believe at any cost?
Conceptual-structural film by Branko Karabatić exploring media and television.
𝘜𝘯𝘢 𝘴𝘤𝘢𝘵𝘰𝘭𝘢. 𝘜𝘯 𝘰𝘳𝘪𝘨𝘢𝘮𝘪. 𝘜𝘯 𝘪𝘯𝘨𝘢𝘯𝘯𝘰. 𝘋𝘰𝘱𝘰 𝘶𝘯 𝘧𝘰𝘳𝘵𝘦 𝘵𝘳𝘢𝘶𝘮𝘢, 𝘶𝘯𝘢 𝘨𝘪𝘰𝘷𝘢𝘯𝘦 𝘳𝘢𝘨𝘢𝘻𝘻𝘢 𝘧𝘢𝘵𝘪𝘤𝘢 𝘢 𝘧𝘪𝘥𝘢𝘳𝘴𝘪 𝘥𝘦𝘭 𝘱𝘳𝘰𝘴𝘴𝘪𝘮𝘰 𝘦 𝘢𝘥 𝘢𝘱𝘳𝘪𝘳𝘴𝘪 𝘥𝘪 𝘯𝘶𝘰𝘷𝘰 𝘢𝘭 𝘮𝘰𝘯𝘥𝘰, 𝘮𝘢 𝘨𝘭𝘪 𝘢𝘱𝘱𝘳𝘰𝘤𝘤𝘪 𝘥𝘪 𝘶𝘯 𝘴𝘶𝘰 𝘨𝘦𝘯𝘵𝘪𝘭𝘦 𝘤𝘰𝘦𝘵𝘢𝘯𝘦𝘰 𝘴𝘦𝘮𝘣𝘳𝘢𝘯𝘰 𝘧𝘪𝘯𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘧𝘢𝘳𝘦 𝘣𝘳𝘦𝘤𝘤𝘪𝘢 𝘪𝘯 𝘭𝘦𝘪 𝘥𝘰𝘱𝘰 𝘵𝘢𝘯𝘵𝘰 𝘵𝘦𝘮𝘱𝘰. 𝘊𝘪 𝘴𝘰𝘯𝘰 𝘱𝘦𝘳𝘰̀ 𝘢𝘭𝘤𝘶𝘯𝘦 𝘱𝘳𝘪𝘨𝘪𝘰𝘯𝘪 𝘤𝘩𝘦 𝘤𝘪 𝘰𝘱𝘱𝘳𝘪𝘮𝘰𝘯𝘰 𝘦 𝘥𝘢 𝘤𝘶𝘪 𝘦̀ 𝘥𝘢𝘷𝘷𝘦𝘳𝘰 𝘥𝘪𝘧𝘧𝘪𝘤𝘪𝘭𝘦 𝘶𝘴𝘤𝘪𝘳𝘦. 𝘚𝘦 𝘯𝘰𝘯 𝘴𝘪𝘢𝘮𝘰 𝘢𝘣𝘣𝘢𝘴𝘵𝘢𝘯𝘻𝘢 𝘧𝘰𝘳𝘵𝘪, 𝘢𝘭𝘤𝘶𝘯𝘪 𝘥𝘪 𝘯𝘰𝘪 𝘴𝘰𝘯𝘰 𝘥𝘦𝘴𝘵𝘪𝘯𝘢𝘵𝘪 𝘢 𝘳𝘪𝘮𝘢𝘯𝘦𝘳𝘤𝘪 𝘪𝘯𝘵𝘳𝘢𝘱𝘱𝘰𝘭𝘢𝘵𝘪 𝘱𝘦𝘳 𝘴𝘦𝘮𝘱𝘳𝘦.
The epic life of a world-class artist, jammed into six minutes.
‘Empath – The Ultimate Edition’ is the definitive version of Devin Townsend’s acclaimed 2019 album Empath. Featuring the original album & bonus disc, it also includes 2 Blu-Ray discs, the first of which contains a brand new 5.1 surround sound mix by Devin, as well as visuals for each track on the main album, plus a visualizer for the stereo version of the album. The second blu-ray disc contains ‘Acoustically Inclined – Live in Leeds’, a live show filmed during the April 2019 acoustic tour, as well as the Empath Documentary, ‘Genesis’ 5.1 mixing lesson, acoustic gear tour, a full Empath album commentary, and a video for the bonus track ‘King’. This is all contained within a hardback artbook with expanded artwork and photos, as well as new liner notes by Dave Everley.
Druga linija aka The Other Line is a product of many years of research of neo-avant-garde cultural and art scene in Novi Sad, Serbia (late 60s and 70s), which has been marginalized until today. This artistic movement was directly connected not only with important art centers of the former Yugoslavia, but also with existing flows of world art during its brief and productive activities (7e Biennale de Paris, 19th Berlinale). The cultural and artistic emancipation of that time had implied individual freedom of expression and strong reaction to established boundaries. This avant-garde movement had become threat to communist establishment, the authors' work were sabotaged, the films were sealed off, five artists were taken to trial, two were sent in prison. How is it that the retrograde mechanism of shutting down and removing the most creative and representative progressive impulses of our surrounding is still so current to this day?
Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.
Are you going to push yourself hard to behave according to what the authorities dictate until you become numb as a wilted wood? An experimental film about the pressure of conforming to the society. Accustomed to the standards, people are throwing judgment and prejudice against each other that squeeze them much harder towards the invisible walls. Hypocrisy is celebrated and there’s no room for moving and no space for breathing. Human senses may be the roots of all sins, but these senses are also the foundation of life.
Set in the American Midwest, Perfect Lives is “about” bank robbery, cocktail lounges, geriatric love, adolescent elopement, the changing of the light at sundown, et al. One of the definitive text-sound compositions of the late 20th century, it has been called "the most influential music/theater/literary work of the 1980s".
In an ironic reference to body art, process art and performance, Baldessari challenges definitions of the content and execution of art-making. Performing with deadpan precision, he moves his hands, arms and entire body in studied, minute motions, intoning the phrase "I am making art" with each gesture. Each articulation of the phrase is given a different emphasis and nuance, as if art were being created from moment to moment. This index of body movements is ironically offset by the repetitive monotony of the exercise.
One of a series of ‘falls’ by Bas Jan Ader that he recorded on film, this work was filmed in West Kapelle, Holland in 1970.
How would a found footage film look if the footage was never found? This conceptual art experiment questions the very nature of film and cinema while serving as an ironic tribute to the found footage horror pop culture. The found footage format provides the narrative justification for such a film to exist: the non-existence exists because the footage existed yet it was lost and never found.