A short documentary about the making of Stop Making Sense featuring new interviews with Talking Heads members David Byrne, Jerry Harrison, Tina Weymouth, and Chris Frantz, as well as Stop Making Sense producer Gary Goetzman and editor Lisa Day. This documentary also features never before seen archival footage and photographs.
When the strongest earthquake in a century hit Mexico in 2017, everyone had eyes on the rescue of 12-year old Frida - until the story took a very strange twist.
X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.
The National Library of France is the guardian of priceless treasures that tell our history, our illustrious thinkers, writers, scholars and artists. Telling the story of the exceptional treasures of the National Library of France is like opening a great history book rich in many twists and turns. Without the love of the kings of France for books and precious objects, this institution would never have seen the light of day. The story begins in the 14th century under the reign of a passionate writer, Charles V, who set up a library in his apartments in the Louvre. But it was not until the 17th century, and the reign of Louis XIV, a lover of the arts and letters, that the royal library took over its historic quarters in the rue Vivienne in Paris, which it still occupies.
Celebrating the splendor and grandeur of the great cinemas of the United States, built when movies were the acme of entertainment and the stories were larger than life, as were the venues designed to show them. The film also tracks the eventual decline of the palaces, through to today’s current preservation efforts. A tribute to America’s great art form and the great monuments created for audiences to enjoy them in.
WINHANGANHA (Wiradjuri language: Remember, know, think) - is a lyrical journey of archival footage and sound, poetry and original composition. It is an examination of how archives and the legacies of collection affect First Nations people and wider Australia, told through the lens of acclaimed Wiradjuri artist, Jazz Money.
An early experimental film by Toshio Matsumoto. Produced as part of the student riots in Japan at the start of the 1960s, Matsumoto uses collage, archival footage, and impassioned narration to create an expressive, visceral criticism of the US-Japan Security Treaty.
A short documentary about a trailer weighing over 300 tons that carries material for the construction of a dam toward Tokyo.
The Choco area in Colombia remains isolated between sea and forest. There, religious missions, military operations, and touristic projects have come and gone. Free of narration, Tropic Pocket captures images to witness these actions. The spectator will decide which amongst these layers of reality and mystification are the most deceitful.
To index my position in popular culture, existing in scenes of Taiwanese indie youth and migrating to New York and we all exist under the umbrella of confederacy/ white supremacy/ Eurocentricism/ and patriarchy. FAREWELL asks questions about internet labor and surveillance, comments on Eastern and Western cultures and local communities, what it means to self-document through motion images, and the urge to archive (Hal Foster wrote about the archive impulse.) It is another video that will ultimately end up in the vast sea of YouTube shorts but it is a way to pass down a momentary legacy.
A 16mm experimental film that analogizes the discourse of racialized criminality and the carceral apparatus, which surveils and delimits the movements of Black people’s bodies, with the conventions and mechanics of the cinematic apparatus which regulates and standardizes the movement of the filmstrip through the motion picture camera and projector. Equal parts essay and visual art, Speaking in Tongues embodies the cinematic Black ecstatic that simultaneously re-envisions resistance defiance in the face of anti-Black state violence and subverts the conventions of cinematic realism through a manually and optically altered collage of original documentary and archival film sourced from Hollywood movies, television commercials, educational films, cartoons, European art cinema and miscellaneous ephemera.
The Maine Frontier: Through The Lens of Isaac Walton Simpson, combines the scarcely seen turn-of-the-century photography of Isaac Simpson with both archived and current films, oral histories, and a compelling musical soundtrack performed live.
A darkly beautiful visual essay that explores human emotion in response to societal standards. With a lone cello providing the soundtrack, this collage of archival footage from 1950’s-era films is a superb example of manipulation via sound and image (Dorothy Woodend, DOXA Documentary Film Festival)