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1-9 of 9
- Captive and suspended in half-memories, existentially dislocated and disillusioned, a woman is drawn into an ethereal dance of abandon, prayer, hurt and desire.
- A fading movie star, fresh from a rejection for a starring role, is drugged and photographed by her devious and self-serving girlfriend, an aspiring photographer she nurtured. The images, displayed at a high-profile London galley, shatter the actors' dignity. She digs deep to turn the tables.
- Eleven years after the shoot of the critically acclaimed film 'Ashes of God', the directors share their thoughts on the creative process behind the project. The film documents how scenes appeared in the rehearsal room (through structured improvisation, choreographic stimuli and character research), and how these scenes evolved in contact with the locations: the ruins of an 18th century roundhouse roundhouse, a ghost town. The adverse conditions (cold temperatures, dust, long working hours) elevated cast and crew into a state of risk taking, letting-go and creative focus beyond fatigue. New scenes emerged on site, creating a jigsaw of elements of poetic, non-linear narrative (based on Ovid's classic poem Metamorphoses), akin to the process of devised theater.
- A rhythmically captivating exploration of love and loss at the fin-de-siècle. An amorous relationship between two women abruptly cut short. Dissolving under the impact of the loss of her soul mate, the surviving lover is drawn into the depths of mid-winter forests, into spheres of the subconscious, initiated by unknown forces. There is no return. The stream-of-consciousness narration, a collage of poetic fragments, features words by 16th century lesbian poet Katherine Philips, 19th century fin de siècle poets Renée Vivien and Algernon Charles Swinburne whose agnostic, visionary poetry lend the film a hypnotic quality.
- Diary entries, co-authored with algorithms: climate fiction as a metaphor for personal and global disaster and as a juncture where imagination and reality collide.
- In a derelict factory space, characters move to impulses, memory loops, fragments of feeling. Isolated in their own dense, stagnated realities, they communicate imperceptibly with each other in a ritual of anticipation and release, confined by the laws of the 'steady state', the dynamic stasis. Inspired by the choreography of Urbe, but stripped of its socio-political and sensorial contexts, the performers interact with space and time without narrative substructure and interpersonal reference: bodies without foothold, in a state of suspension and release, in illusory congruence and stability. Through their bodies surge eloquent yet inscrutable impulses, building to a crescendo; but the impulses subside, yielding to the Fliessgleichgewicht.
- A visual poem in a universe of realities.