Não é Possível Garantir que Todos os Produtos Funcionem

Canceled short film.

In a remote area of northern Spain, the wind has a name: Tramuntana. Tramuntana takes what it wants—clothes, trees, boats, and the people of the landscape who live with the endless threat of being carried away by its force. This film is a lyrical portrait of this furious wind, woven from the stories passed down by local villagers.

A body lurchs through the university.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.

A new type of cinema you can perceive with your butt hole.

Dissonant selves dancing around opposition and harmony.

An experimental tribute to Jean-Luc Godard, his documentary works and his insights in our modern world.

Made with virtually no budget during COVID-19 quarantine in 2020, IRANIAN LIVES MATTER abstractly recounts the true story of what occurred in Iran during the November 2019 protests, sparked by a surprise hike in gasoline prices, which quickly spread across the entire nation and was subsequently crushed by the dictator's iron fist, resulting in the death of approximately 1500 protesters, as reported by Reuters. IRANIAN LIVES MATTER is an experimental documentary, an audio-visual endurance test that audibly takes its audience through the chaos in the streets of Iran as the brutal regime cracks down on Iranian protesters, while visually showing the hands of the dictatorship as it crosses out 1500 lives one by one to further emphasize the scale of the massacre and show to a world desensitized to news of mass killings in the Middle East what the term "1500 dead" truly means.

Hercules travels by bicycle from Krefeld on the Lower Rhine to Olympus, the throne of ancient deities. The Hercules myth, as a primal myth of male power, is questioned through biographical reflections and the staging of mythological echoes. The dramaturgical structure of the hero's journey disintegrates in a multi-material perspective into questions about male identity, ideals and remorse.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Shifting Margin Part 1 (1991) Produced, Directed, Photographed, and Edited by Albert Gabriel Nigrin Special Thanks: Brodsky and Treadway and DAK Productions Length: 3 minutes A statue of a horse [located in the Luxembourg Gardens in Paris, France] shot at 18fps on Kodachrome color super 8mm film transferred to high quality video. The film camera was shaken at various intensities to simulate the various forms of horse locomotion -- walk, trot, gallop, etc. The film is silent yet one hears the rhythm of hooves. The green color of the statue's faded bronze was amplified, as was the blue sky in post-production. A homage to Pegasus, Le Magnifique in Cocteau's Beauty and the Beast, and Eadweard Muybridge.---AGN

Pictures taken between France and Mexico running at 8 frames per second.

The day with the sky neither too blue nor too grey. With a hint of red. The train crowded and the backpacks between the feet. The loves on every corner, the ones we pretend not to see.

In 1999, 11-year-old Nisha Platzer lost her older brother, Josh, to suicide. Twenty years later, her search for a specialized medical treatment leads her to the door of someone who was once exceptionally close to Josh. And so it is that she finally has the chance to truly know her brother through his chosen family. Captured over five years in which synchronicities continually manifested, Platzer’s documentation of these encounters gently asserts that both grieving and healing are meant to be communal experiences.

In early 2020, MUTA - International Festival of Audiovisual Appropriation and Cine Íntimo rescued and digitised a Peruvian archive of orphaned 8mm and Super 8 home movies. With the aim of restoring these lost memories, we sent the images around the world. This omnibus film is the result of the intervention of this material, by 14 experimental filmmakers. Fourteen perspectives and ways of experiencing appropriation. Fourteen variations on the intimate.

A pleasant tasting summer film made in New York and Searsmont, Maine. With poems by Daniel Shapiro (age five), performances by Dana Reitz, Yoshiko Chuma and Wang Pint; music by Duke Ellington and Gamelon of Bali.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

A film-performance that features all film footage shot by the author during 2024-2025 and is played at variable frame rates, from standard to minimal frames per second. One to three 8mm projectors and one 16mm projector can be used for the demonstration, so the runtime is variable. Trees and leaves, clouds and curtains, snow in the yard and water, hands and eyes, shadows and glare of light, days spent alone and meetings with friends. Light and darkness are the two poles between which this diary is flows, pulsates and shimmers. Raw diary of visual impressions captured with filmmaker's camera.