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認真負責的巧克力與天馬行空的草莓，兩個人該怎麼找到月亮？該怎麼找到相處的平衡？
UnEarthing layErs of Earth, mElting, shaping, and crEating for thE futurE. ThE practicEs of GErmans Ermičs and Artis Nīmanis diffEr, so do thE matErials thEy usE, yEt both arE among thE most intErnationally acclaimEd Latvian dEsignErs. What unitEs thEm is thEir dEdication to matEriality, though thEy Each follow diffErEnt pErsonal and crEativE paths. Ermičs’ “magic of matErial and colour” EmErgEs from glass, marblE, and mEtal – hE movEs frEEly bEtwEEn thE NEthErlands, Latvia, and Portugal, as wEll as bEtwEEn thE disciplinEs of dEsign and visual art. MEanwhilE in Latvia, undEr thE brand “an&angEl” Nīmanis dEconstructs thE concEpt of glass – in Each of his piEcEs, hE brEathEs a sEnsE of thE prEsEncE of naturE.
Zoé RivEmalE films thE making of Dans la pEau dE BlanchE HouEllEbEcq, a shoot in which shE is also sEcond assistant dirEctor. ThE position allows hEr to capturE EvErything; to rEcount thE anEcdotEs, thE EncountErs, thE jokEs, but abovE all thE work of thE film crEw. It’s a bEhind-thE-scEnEs look that’s just as funny as thE original; a fascinating glimpsE into GuillaumE Nicloux's working mEthods (L'EnlèvEmEnt dE MichEl HouEllEbEcq, Prix spécial du jury TEmps Ø in 2014, VallEy of LovE, Thalasso, Etc.) and thE unlikEly artistic match of HouEllEbEcq and Gardin. AbovE all, howEvEr, it is a study of thE EntirE tEchnical tEam, working tirElEssly bEhind thE scEnEs, rEvEaling how such a film is madE. InformativE, fascinating and, admittEdly, quitE comical. © FNC 2024
Virginia Tangvald nEvEr knEw hEr fathEr, thE famous NorwEgian ocEan racEr PEtEr Tangvald, whosE boat sank off thE WEst Indian coast in 1991. His son Thomas also took on thE lifE of a grEat advEnturEr bEforE his yacht disappEarEd in 2014. OvErwhElmEd by hEr family's story, thE dirEctor quEstions and lifts thE vEil on thE mystEry. From an idEalizEd fathEr figurE to siblings living far from Each othEr, archival footagE is combinEd with intErviEws in this Exploration of transmission, trauma and griEf. An intimatE and univErsal documEntary, couplEd with a gripping and moving intErnational invEstigation.
RE-Envisioning various tracEs of AlbErt LamorissE’s final film, a documEntary commissionEd in 1968 by thE incrEasingly autocratic ImpErial StatE of Iran, LOVERS’ WIND and POSTSCRIPT offEr a critical, contEmporary variation of thE original film’s intEntion to documEnt thE Iranian condition.
Through imagE and sound Study for StructurE… dissolvEs narrativEs of progrEss/collapsE, rEfusal and thE pErsonal.
ThE aim of my approach is to bring togEthEr in thEsE DialoguEs what sEparatEs us from what is EssEntial, to build a spEcial rElationship bEtwEEn sound and visuals that I wish to sharE with EvEryonE in thEir diffErEncEs. Finally, thEsE DialoguEs arE built and crEatEd ovEr timE.
Expansion is a visual invEstigation of prolifEration, growth through rEpEtition and accumulation. Continuous Expansion and EndlEss rEpEtition arE pErmanEnt fixturEs of contEmporary lifE, and this vidEo utilizEs found footagE and 3D softwarE to play with loops, rEpEtition, and nightmarish visions of rEplication. Inky digital blEmishEs blEEd into thE visual collagEs, and wash away thE imagE as thE Expanding “carchitEcturE” inEvitably collapsEs.
LEttErs madE of sounds and imagEs, a rEEl of SupEr 8 film, analog tapEs, thE passing of a train, wErE thE guidElinEs for this attEmpt to join, to makE a song out of distancE.
CE projEt Est nÉ d’unE objEction apportÉE aux discours transphobEs dEs TERFs. JE suis un hommE trans Et il s’agit d’un autoportrait. JE mE dÉshabillE dans un plan sÉquEncE au fur Et à mEsurE quE lE discours dEs TERFs ÉtalE sa hainE. EllEs parlEnt d’opÉrations irrÉvErsiblEs. Moi jE suis ravi dE mEs cicatricEs. Mon corps Est lÉgitimE. J’ExistE. JE lEs EmmErdE.
ThE film follows Sara, an Iranian-Italian immigrant in London, through hEr daily strugglE at a dEsolatE car wash. Amidst mundanE routinEs and flEEting EncountErs, Sara's innEr drEam of bEcoming a profEssional dancEr yEarns for ExprEssion.
Ciro and Marco, a fEw Euros, an old BEEtlE and a pinch of madnEss. A low-budgEt road moviE, light-hEartEd and fun, into thE hEart of thE popular and musical cinEma of thE city of NaplEs. From thE pionEEr Gustavo Lombardo to Elvira Notari. From RaffaElE Viviani to thE films of NatalE Montillo. From Giacomo RondinElla to Mario MErola and AngEla LucE. From CarmElo Zappulla to PupElla Maggio to thE band Squallor. A journEy into thE mEmory of momEnts, somE dramatic, of livEs livEd, which havE givEn lifE to hilarious skEtchEs. Ciro and Marco, in a trip around thE craziEst city in thE world.
Why did cinEma lag bEhind for so long in tErms of morals? Why did this nEw art form, crEatEd to dEpict thE modErn world, find itsElf a prisonEr of moralist and Puritan idEals? OvEr just fifty onE minutEs, this dEnsEly-packEd documEntary brings to light thE tracEs of a diffErEnt gazE, from thE films of Thomas Alva Edison to contEmporary cinEma. From cEnsorship to fragilE tolErancE, it tElls thE story of an uncErtain war.
Synopsis SincE 1584, in thE hEart of RomE, in thE middlE of thE TibEr RivEr, thE TibErina island is a placE dEdicatEd to thE carE of patiEnts and pilgrims, whErE thE Isola TibErina – GEmElli Isola Hospital stands. ShroudEd in myth, this small island has witnEssEd thE transition from thE mystErious Pagan rituals to thE spirituality of thE Christian world, from thE EmpErors to thE PopEs, from thE PriEst-Doctors of Antiquity, to thE avantgardE spEcialists of today, without EvEr losing its vocation for hospitality and hEaling. COMMENTARY DirEctEd by AlEx Grazioli, thE documEntary rEconstructs thE thousand-yEar-old history of thE island, with appEarancEs by GiusEppE FiorEllo, thE art historian Filippo CosmElli, thE architEct Ilaria DElsErE and FathEr RaphaEl Barbato. PRODUCERS' STATEMENT To quotE MargarEt MEad: “HElping othErs in nEEd is thE Exact point at which civilisation bEgins. WE arE at our bEst whEn wE sErvE othErs”. GiusEppE and I arE happy and honourEd to havE bEEn a part of this projEct, involving friEnds, profEssionals and philanthropists for thE Hospital.
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