D
Film Archive
The subway station is going crazy. The call box wants to bring about world peace like the Dalai Lama, the construction area light is heartbroken and the newspaper vending machines belt out a hit song from the eighties. A street filled with rhythm and passion.
Kim Busch
Kim Busch
37 Stories About Leaving Home
Shelly Silver
An intimate portrait of a group of Japanese women between the ages of 15 and 82. They talk about their lives, what separates and unites daughters, mothers and grandmothers.
37 Stories About Leaving Home
An intimate portrait of a group of Japanese women between the ages of 15 and 82. They talk about their lives, what separates and unites daughters, mothers and grandmothers, and how each of them at different times experienced the act of stepping out into the world and society. A complex web of childhood memories, banalities and a magical and cruel Japanese folk tale about a mother’s search for her daughter, who was abducted by a monster on the eve of her wedding.
Ralph Eue
Ralph Eue
5 Lessons and 9 Questions About Chinatown
Shelly Silver
“You live somewhere, walk down the same street fifty, a hundred, ten thousand times, each time taking in fragments, but never fully registering THE PLACE ..."
5 Lessons and 9 Questions About Chinatown
“You live somewhere, walk down the same street fifty, a hundred, ten thousand times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue, unseeing, possibly unseen.
A building comes down, and before the next one is up you ask yourself, 'What used to be there?' You are only vaguely aware of the district's shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons. Chinatown.” (Shelly Silver)
A building comes down, and before the next one is up you ask yourself, 'What used to be there?' You are only vaguely aware of the district's shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons. Chinatown.” (Shelly Silver)
95 and 6 to Go
Kimi Takesue
Looking for the title of a script and finding a grandpa. A home movie style, warmhearted and humorous look: at the grandfather, the family history and the ancestors’ landscapes.
95 and 6 to Go
The filmmaker Kimi Takesue and her widowed grandfather Tom have big plans: first of all, Tom’s house must be cleared out. A lot of things have accumulated here since grandmother died, who didn’t really share Tom’s passion for film and television. Then there’s Kimi’s unfinished script which has been waiting for completion for years and really needs a new title. The spry pensioner comes up with many – sometimes corny – ideas which, unfortunately, do not always meet with much sympathy. And on top of it all his inquisitive granddaughter is trying to unravel her family history with the help of Tom’s memories. This yields insights into the living conditions of their ancestors, who tried to build a life as Japanese immigrants in Hawaii. The grandparents’ love story, too, is very interesting, especially the question how the two actually met and whether it was really love at first sight.
Shot like a home movie and intercut with archive material and shots of the Hawaiian landscape, Takesue takes a loving and humorous look at her grandfather and her roots. She may not get a new title for her script out of this, but it’s an enchanting way to get closer to her grandfather.
Kim Busch
Shot like a home movie and intercut with archive material and shots of the Hawaiian landscape, Takesue takes a loving and humorous look at her grandfather and her roots. She may not get a new title for her script out of this, but it’s an enchanting way to get closer to her grandfather.
Kim Busch
A Horse is not a metaphor
Riding and swimming in the river, in combination with Meredith Monk’s music, become symbols of the fight against ovarian cancer.
„Freedom is a horse galloping with mane and tail flying in the wind. Freedom is my eye and mind following the flow of expression through movement. Freedom is riding my horse on a trail exploring the unknown and seeing with fresh eyes as the world becomes new again. „A Horse Is not a Metaphor“ is about the power of living in the present to the fullest and with the greatest freedom.” (Barbara Hammer)
„Freedom is a horse galloping with mane and tail flying in the wind. Freedom is my eye and mind following the flow of expression through movement. Freedom is riding my horse on a trail exploring the unknown and seeing with fresh eyes as the world becomes new again. „A Horse Is not a Metaphor“ is about the power of living in the present to the fullest and with the greatest freedom.” (Barbara Hammer)
A Long Way from Home
Jay Rosenblatt
A hypothesis: if archaeologists had ever come across footage of the crucifixion of Christ, it could have looked like this.
A Long Way from Home
Documentary Film
USA
2015
3 minutes
subtitles:
_without dialogue / subtitles
Credits
Jay Rosenblatt
Jay Rosenblatt
John Turk, David Borengasser, Vanessa O’Neill
Jay Rosenblatt
A hypothesis: if archaeologists had ever come across footage of the crucifixion of Christ, it could have looked like this.
Credits
Ted Skillman, Dan Portland
R.J. Cutler, David van Taylor
Nicolas Doob
Remember Oliver North? In the late 1980s under President Reagan he secretly sold weapons to Iran and used the profits to support Contra rebels in Nicaragua. Risqué – the United States had issued an arms embargo against Iran and Congress had prohibited any support for the Contras. When the scandal was exposed, Reagan dropped Oliver North. The lieutenant-colonel was found guilty of corruption, lying and destruction of evidence. He appealed and was acquitted – for reasons of immunity. Now he needed a new job. This is where “A Perfect Candidate” comes in: the charismatic North entered the senatorial race in Virginia as the Republican candidate. Over seven months, we follow him and his opponent, the democratic incumbent Charles Robb, through the highs and lows of campaigning. Following the “spin doctors”, the people who pull the strings behind the scenes, very closely, Cutler and Taylor open up deep insights into the strategies and pitfalls of the political machine. The result is a captivating and extremely thrilling film in the spirit of Robert Drew’s and Richard Leacock’s Direct Cinema classic “Primary”. The Washington Post praised “A Perfect Candidate” as the “best American documentary since Hoop Dreams” and called it “one of a small handful of essential films about the politics in this country”.
– Claas Danielsen
– Claas Danielsen
A Strange New Beauty
Shelly Silver
Entering the comfort zone of an inhabited but empty luxury residence. Beauty above all? Once objects start to talk …
A Strange New Beauty
Entering the comfort zone of a luxury estate in Silicon Valley, inhabited but empty. The first impression: an illusion of Arcadia. A painstakingly created and maintained claim. Though the travails that went into the magnificent appearance of the garden were masterfully concealed and silenced too. Only the things and plants that make up this Arcadia know of its violence. And they have the power to tell us about it! But only those who look and listen closely will hear their ghostly-real voices and the eerie noise behind the silence. From the mouths of ghosts … Thus we learn of the world behind the appearances. A world ruled by dominance and submission. By strategies to overcome fear. And by the antagonism between the “natural” pursuit of happiness of a very few and the collateral damages produced in the process. Because ultimately this film by Shelly Silver is a narrative of barbarianism and how, brilliantly refined, it manages to present itself as strangely new and beautiful – “a strange new beauty” indeed.
Ralph Eue
Ralph Eue
A Tangled Tale
Corrie Francis Parks
In this unusual romance, hand-tinted sand becomes a metaphor for two souls as they join and separate ...
A Tangled Tale
In this unusual romance, hand-tinted sand becomes a metaphor for two souls as they join and separate. A lonely fish, hooked by an angler's line, encounters another in the same dire situation.
Acme Filmworks - Showreel One
Credits
Acme Filmworks, Inc.
Adolescence
José Fernando Rodríguez
A girl in the pool, close to the lens. She’s asking for a towel. White noise. A boy pretending to be a chicken hops through the room, picking at the mattress with his head.
Adolescence
Documentary Film
Puerto Rico,
USA
2017
10 minutes
subtitles:
English
A girl in the pool, close to the lens. She’s asking for a towel. White noise. A boy pretending to be a chicken hops through the room, picking at the mattress with his head. José Fernando Rodríguez reconstructs the states of his youth in “Adolescence”, using residual images of past times, hybrid images: excessive hormone boosts and the first fears of death, a girl in the pool and a dry run in the children’s rooms. The images in-between are missing. There’s only white noise.
Lukas Stern
Lukas Stern
Afraid So
Jay Rosenblatt
There’s a lot to fear: rain, bounced checks or the imminent end of the world. An uncomfortable found footage film, inspired by a poem.
There’s a lot to fear: rain, bounced checks or the imminent end of the world. An uncomfortable found footage film, inspired by a poem.
América
Erick Stoll, Chase Whiteside
The law of responsibility is uncheatable, unquestionable: three brothers from Mexico share the care for their 93-year-old grandmother. A piece of evidence for humanism.
América
Credits
Erick Stoll, Chase Whiteside
Erick Stoll, Chase Whiteside
Erick Stoll
Erick Stoll, Chase Whiteside
Christian Giraud
The outer layer consists of kissing and touching. A film wrapped in tenderness, surrounded by gestures of intimacy, sensitivity and warmth. Diego and his two brothers have returned to Colima in Western Mexico to take care of their 93-year-old grandmother. América is the name of this old woman with dreaming eyes and a warm smile, who is bedded and blanketed by the brothers at night, washed and dressed by them in the morning, cosseted, protected, surrounded by them at noon. The brothers’ father is in prison, their economic situation is precarious and the workload boundless. But human dignity and the law of responsibility are unquestionable, uncheatable. Never – whatever the cost, be it money, time, strength or a brawl – would Diego, Rodrigo and Bruno take their grandmother to a nursing home.
The US directors Erick Stoll and Chase Whiteside followed the family for a period of three years and are now presenting an intimate debut film that is more than a document of the ethics of responsibility. It’s, and this is what one should call it, a piece of evidence for humanism.
Lukas Stern
The US directors Erick Stoll and Chase Whiteside followed the family for a period of three years and are now presenting an intimate debut film that is more than a document of the ethics of responsibility. It’s, and this is what one should call it, a piece of evidence for humanism.
Lukas Stern
A series of short animations, started in 2011, where anonymous messages on the artist's voice mail provide the content for these sometimes insightful, sometimes bizarre micro-shorts.
Ants
