Always/Never (Together Forever)

In 2022, when the economic crisis in her native country was at its peak, she decided to visit her family there. She turned her short trip into a collage-like diary in which she reflects on her relationship with her homeland, which is in a state of protracted decay. The film is composed of spontaneous snapshots capturing the author's stay, interspersed with inserted captions serving as personal, often poetically formulated comments and observations. As a result, the film does not hide its strongly subjective perspective, but at the same time builds on it to make an important statement that shows the transformation of Lebanese society in everyday details such as the appearance of the city itself or in the intimate sphere of the author's family life.

During the last forty years, the photographer Sebastião Salgado has been travelling through the continents, in the footsteps of an ever-changing humanity. He has witnessed the major events of our recent history: international conflicts, starvations and exodus… He is now embarking on the discovery of pristine territories, of the wild fauna and flora, of grandiose landscapes: a huge photographic project which is a tribute to the planet's beauty. Salgado's life and work are revealed to us by his son, Juliano, who went with him during his last journeys, and by Wim Wenders, a photographer himself.

Disjointed moments from the filmmakers’ daily lives during the past year. Captured on a 1985 VHS camcorder with color and luminosity distorted by its failing color Newvicon tube. Cut with distorted tape-recorded fragments of nostalgic broadcast television ephemera. Scored by whatever was handy— from an ambient electronic song with a surprising amount of pipe organ (Oneohtrix Point Never - Boring Angel) to midi versions of your favorite SNES soundtrack (Donkey Kong Country – Aquatic Ambience, Opening, and Treetop Rock) to a not-quite-right rendition of a song that will make you want to say “Oh, Angelo, that’s tearing my heart out!” (Xiu Xiu – Falling). A voyeuristic peak at home movies that exist somewhere between soon to be forgotten and forgotten long ago. The occasional dot matrix time stamps in the corner of the footage somehow make it harder to place in time.

Phyllis Bigler has been going to the Spanish Peaks of Colorado since she was a child. Now in her 90s, she tells her stories.

Faced with an assignment to film something personal, Cem begins a quiet search for what that really means. A casual conversation with a close friend leads him to turn the camera toward the people who already shape his life. Through moments with his grandmother, spontaneous talks about family, and reflections on his dream of becoming a filmmaker, MozikMoro slowly transforms into a portrait of connection and self discovery. Between the ordinary and the intimate, Cem captures a world that is both deeply personal and universally human.

In the year 2020, when the world was forced to ‘change’, I wanted to confirm what changed and what did not change in me. The white mask I wore became the screen projecting my past. My family is sometimes hurt, but support me as I suffer from schizophrenia. We live today while looking for the answer to ‘Who are we?’

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A portal, a sorceress, a fictional device to portray existence as a moment encapsulated inside an instantaneous photograph to present fragmented biographical elements —family disintegration, rootlessness, scars, two loyal companions, the promises of a new land—subverting the notion of a home-movie and transform it into a pilgrimage tool of self-discovery, mirroring the fragile nature of memories.

Made over six years in the hotels of six different countries, Hotel Diaries charts the 'War on Terror' era of Bush and Blair through a seven-part series of video recordings that relate personal experiences to the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine. In these works, which play upon chance and coincidence, hotel rooms are employed as 'found' film sets, where architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.

A speaking into the void.

Filmmakers Sam and Amy journey into rural Australia to explore how the legacy of an American legend has transmitted and warped itself over time, and across the globe, resulting in the 30th annual Parkes Elvis Festival.

The Red Tide follows a life changing move to Florida. Exploring a new home located near famous earthworks by Robert Smithson, the enormous art collection-turned-museum of John Ringling, and beaches plagued by a toxic phenomenon called the ‘red tide’. Beginning with a recreation of Nancy Holt and Robert Smithson’s 1969 film, Swamp, the film describes a confusion between multiple anxieties: art’s legacy, climate change, and a longing to stay connected. Taken From Sally Lawton's Website: http://www.sallylawton.net/the-red-tide.html

Istanbul: Chronopolis is an experimental documentary that explores the city as a living organism where the linear flow of time is disrupted and the past and future coexist. Structured around a thematic cycle of birth, speed, and decay, the film uses rhythmic visuals and archival footage to bridge temporal gaps. Through a fourteen-minute mathematical edit, it replaces linguistic narrative with the evocative language of time-lapse and slow-motion cinematography. The project invites the audience to transcend chronological time and experience Istanbul as an eternal moment—an entity existing solely within its own timeless cycle.

Rummage is an experimental documentary of the legendary rummage sale that takes place in Far Hills, New Jersey every first weekend in May and October.

Reminiscences of a trip to Čáslav

A dystopian future that’s ever nearer, Acid City floats in toxic waters and is left to its own devices. But under the boiling sun, the city weaves together its own social fabric. With audio recordings taken off the streets of NYC, this animation offers us something rare in the face of climate catastrophe: hope.

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A snooze alarm clock cannot wake a sleepy person. The bell of the alarm clock hence becomes a hypnotic trigger. Such an ordinary sound is redefined in our drowsy moments, and we are also liberated from the sounds that condition our lives—queue management systems, electric scooters, air raid drills, and public demonstrations. These sounds are released from the soft soil of our consciousness and grow into a new scene. And we sail with those who cannot be awakened on a boat drifting off course into a new realm projected by frequency. This is a film you can watch with your eyes closed.

A unique cinematic experience that invites audiences on a vibrant journey through the life of cultural icon Pharrell Williams. Told through the lens of LEGO® animation, turn up the volume on your imagination and witness the evolution of one of music's most innovative minds.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.