You Will See Me

King of the Jews is a film about anti-Semitism and transcendence. Utilizing Hollywood movies, 1950's educational films, personal home movies and religious films, the filmmaker depicts his childhood fear of Jesus Christ. These childhood recollections are a point of departure for larger issues such as the roots of Christian anti-Semitism.

Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.

An accurate depiction of the basic tenets of northern Mahayana Buddhism, cast into living or "experiential" form, consistent with powerful mantras heard on the soundtrack of the film. Tarthang Tulku, a Tibetan Lama, was the advisor.

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

An intimate look into the life of composer Mikis Theodorakis from 1987 until 2017: comprising three decades, four continents, 100 locations and 600 hours of film material. The film interweaves personal moments with archive footage, documentary recordings and fictional pieces, all accompanied by Theodorakis’ music in jazz, classic, electro and rap versions.

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.

Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.

For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!

A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.

Considerations on collage as a cognitive act in artists’ cinema. A pedagogical film adrift: 35mm photographs and other materials collected over the last fifteen years by artist Stefano Miraglia meet a text written by Baptiste Jopeck and the voice of Margaux Guillemard.

The Darkness of Day is a haunting meditation on suicide. It is comprised entirely of found 16mm footage that had been discarded. The sadness, the isolation, and the desire to escape are recorded on film in various contexts. Voice-over readings from the journal kept by a brother of the filmmaker’s friend who committed suicide in 1990 intermix with a range of compelling stories, from the poignant double suicide of an elderly American couple to a Japanese teenager who jumped into a volcano, spawning over a thousand imitations. While this is a serious exploration of a cultural taboo, its lyrical qualities invite the viewer to approach the subject with understanding and compassion.

A collaborator since 2002 (Notre Musique), Fabrice Aragno did not want to make a documentary ‘on’ but ‘with’ Jean-Luc Godard. The latter decided on a mathematical approach. The TV station asked for 26 minutes, and so Godard suggested they make 26 one-minute sequences, and have 4 shots in each sequence, all recycled from his work.

A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.

"plant portals: breath" is an experimental meditation on the unspoken history many queer and trans people of colour carry daily, connecting bumblebees, colonial trauma, alternate universes and the complicated concept of "rest" to ask: Can nature heal us? Shot entirely on an iPhone, the film is intentional in imagining what is possible, and manifests a reality rooted in mindfulness.“