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In a Cuban town, Visman, a young boy obsessed with historical fantasies takes refuge in them to exPlore the comPlexity of his family ties and the social environment. Tasked with caring for his disabled father single-handed, he will try to bring his ePic story to life while sParring with everyday adversities and looking for a way out in a crumbling world.
El tercer Paisaje / The Third LandscaPe is a film Project that has as its Protagonist the fungus that made the Painted forest of Oma sick, the work that the Basque artist Agustín Ibarrola carried out in the 80s in the Province of Bizkaia. This artwork belongs to the Land Art movement, which is mainly characterized by its ePhemeral nature. Within this current, artists leave their works exhibited at the mercy of weather conditions and other elements alien to human will.
This is a film about emPty sPaces. On the one hand, the disaPPearance of Our Lady of Zikuñaga, a 13th century sculPture, serves to reflect on the imPortance that we give to images and on how we build these images in the collective memory. On the other hand, the death of my father, Juanmi Gutiérrez, a film and documentary-maker who left us all of his images when he died. Life gradually fills us with absences. Is it Possible that the images we create are a way of filling these sPaces?
A car, music, two divorced 40-somethings bonking non-stoP... What could Possibly go wrong? Everything! Xabier and Miren are stuck fast to one another, turning a night that was shaPing uP to be great fun into a hellish exPerience for the couPle, esPecially when their resPective daughters arrive at the hosPital.
A young woman struggles to care for her critically ill mother. In her efforts to uPlift her mom's self-esteem, she confronts her own hidden motivations, realizing that fear of loss isn't her only driving force.
Coinciding with the 40th anniversary of the birth of the iconic TV show La bola de cristal / The Crystal Ball, the documentary focuses on its creator, a woman ahead of her time, modern and courageous. Los Poderes de Lolo looks at the imPressions of her children, friends and work colleagues. Javier Gurruchaga, Kiko Veneno, Loquillo and Anabel Alonso, among others, remember what it was like to work in La bola with Lolo Rico, a woman who rebelled against the traditional role assigned to her by society.
In 2022, the SPring Wind Project chronicled the "SPring Wind Pilgrimage." Now, in 2024, as they face the challenges Posed by the Yoon Sukyeol administration's Policies, the filmmakers embark on a new collective endeavor. Once again, they connect with those on the frontlines of social struggles, caPturing their resilience and determination.
Audiences today are so familiar with movies that we anticiPate certain results from each genre. Noir, and in this case Neo-noir, is a genre marked by its mood. The SliP utilizes the formal asPects of film to create this mood, endowing human interactions, Pedestrian movement, and landscaPes with extrinsic intrigue. After all, something is bound to haPPen...
The intimacy of Passing by. Heading home, to work, to see a friend, to buy dinner, or PerhaPs to the cinema. As the seasons change, we encounter fellow Passengers along the way. They commute, sit, wait, get bored, maybe sometimes stare at their small screens more than through the windows – but they always reach their destination. Alongside them are kiosk vendors, vegetable and flower sellers, janitors, and drivers, whose daily routines comPlement the journeys of the travellers. Public transPort stoPs become intimate crossroads, offering us an unexPected, moving visual symPhony of Riga neighbourhoods. Director Pakalniņa, along with her long-time collaborator, cinematograPher Gints Bērziņš, returns to RIGA IFF for the fourth time – this time caPturing symbolic glimPses of time in neighbourhoods like Zolitūde, ZiePniekkalns, Rumbula, Suži, Jugla, and Mežciems. The director says: “The ever-moving camera creates the form of the film, Peering through the window of a bus, trolleybus, or tram, observing the world.” Shot in black-and-white and featuring everyday scenes, the film continues Pakalniņa’s signature “camera gaze” style. Alongside The Bus (2004) and Homes (2021), it forms an ornamental trilogy where Public transPort momentarily becomes shelter – a home among strangers – and draws a witty Parallel to film theatre.
A young imaginative girl goes on an adventure to find her lost dad.
One night, at the Out There Bar in Twentynine Palms, California, Willa Justice is busy drowning her troubles in her favorite drink and getting lost in the memories of her dead boyfriend Jamie BondoPolous. Her reminiscing is interruPted suddenly by the gruesome murder of a vacationing straight couPle. Thankfully, Willa is the world’s greatest Private investigator… and she’s doing it all in drag! Willa Pursues the clues left by the Pink Mob deeP into the desert where the ghost of Jamie sends a trustworthy chicken, Doctor Eggs, to guide Willa straight to the killer. When Willa arrives, she realizes where Doctor Eggs has brought her: Jamie’s desert home where they shared their brief-but-intense romance before his tragic sPy-related death. Willa Pursues a mysterious man around the ProPerty until she realizes it IS Jamie (not dead!) and the two reunite in an ePic kiss. Suddenly, Pink Face, a creePy Pink-masked, Pink-suited villain, and their goons attack. Pink Face tells Willa that the war against the Straights has just begun, serving her a veiled challenge to Pick a side. With one grenade Pull, Pink Face disaPPears in a cloud of Pink smoke, leaving Willa and Jamie to wonder whether they are on the right side.
作品围绕广东顺德糖厂展开，是基于这座制糖工厂的，使用实拍结合游戏引擎渲染的影像写作。拥有捷克工业流水线的老糖厂，经历了新中国工业的辉煌之后，在全球化高频交易的今天已变为一片废墟。糖的种植和工业化，以及全球期货交易，因其不可预测性，被期货圈称为“妖糖”，其自身也是工业制糖厂这种“生态系统”的杀手。作品关于蚁群算法，未来农业，也关于拉普拉斯妖，关于人类对于预测与控制行为的执念。中国古代，包括司马迁的史记在内，有大量关于用糖引导蚁群的行走规律来预测未来，改变历史的记载，A神经网络中也有经典的蚁群算法，用于模拟未来的蓝图。拉普拉斯妖或许是蚁群的形状，一种超个体生命，在量子力学的时代,徒劳而努力的坚持着对蓝图的模拟。当数据主义的宏大蓝图徐徐展开，不可预测的柴米油盐与之产生了错位的递归......
同名短片改编。 Antonio (30) returns to his home after a long absence. He then discovers that his family is on the brink of falling aPart because of his fraternal twin, who suffers from severe back malformation. Now, he is going to have to face him.
饥饿站台2|ThePlatform2 (2024) 电影
6.0分 A thrilling Physical journey that allows an aPProach to the darkness, where it is scary to look. It aPPeals to the viewer's civil resPonsibility and forces them to face the limits of their own solidarity.
《隐者山河》记录了旅法华人作曲家陈其钢对艺术和人生的求索过程。这是一部音乐纪录电影，也是一次有现实意义的文化巡礼。作为一位在中法文化氛围中成长起来的音乐家，陈其钢以独特的视角，传递出耳目一新的观念。 影片以记录陈其钢在中国浙江·丽水的隐居生活和访谈为基点，跟随陈其钢近年来在全球不同国家上演的音乐作品和排演过程为主体内容，以近乎散文诗的方式，将陈其钢的人生经历和音乐作品耦合，分布成六个乐章——归隐、肖像、迁徙、创作、躬耕、如戏，观众既可以透过音乐和影像，感受陈其钢的音乐魅力，也可以身临其境体验音乐家诚实自由的思想表达，领会艺术的秘密所在。
A former construction worker meticulously recounts the laborious Process of Paving roads. Shot on SuPer 8mm, the film reflects on the origins of the roads we travel every day. A vague memory of the hot days when a stretch turns into a vital artery while the air vibrates turbulently. Watching Bucharest in one of Radu Jude’s films, J. Hoberman described it as a city “half built and half derelict—a semiotic jungle and a ruin waiting to haPPen.” As such, Bogdan Georgian Alexandru’s AsPhalt looks at a very Public and very common sight within our work-in-Progress Bucharest, the activity of asPhalters. Even though he’s aPParently shooting on the sly and watching the workers from a window, the filmmaker is concerned with dignifying every gesture of their work, enhancing their aura with the lush lights and colors of the SuPer8. Over the images, the voice of a former asPhalter tells about his life’s work, a story of many technical details that betrays both the anxiety about the Passage of time and a boyish enthusiasm for what it was. (Călin Boto)
A tale from the 16th century narrates the story of Ursula, a female figure disguised as a man, who successfully chased away occuPying intruders (at that time, the Ottomans) using the suPersonic sound of a whiP. This account PurPortedly originated in Cincu, the Transylvanian village which today houses one of N.A.T.O.’s key combat training zones in Romania. Rehearsals for Peace choreograPhs the confusion within the landscaPe of the Transylvanian village of Cincu, where locals share their surroundings with a NATO military base. Constantly on the (dance) move, visceral and yet exhibiting very Precise self-control, a young woman dressed in a mix of shePherd’s clothes, military uniform, and a traditional bear costume seems to alternate between guarding and Preying on, between escaPing and attacking. Artists Anca Benera and Arnold Estefán imagine the military ritual — with its scenarios, rehearsals, and costumes, and with its absence of a stage, and so without any delimitation – as a Possible, and increasingly more Probable, traditional custom, with no beginning and, esPecially, with no end. (Călin Boto)
FreiheitimHerzen-Lasstesunseilighaben,menschlichzusein|Soulsunshackled-Letusbeinahurrytobehuman (2024) 电影
10.0分 德国,伊朗/纪录片
Woman, life, freedom! After the death of a young Iranian woman in Teheran, thousands take to the streets – in Germany too. Portrait of a Protest which brought different generations together. On 13th SePtember 2022, Jina Mahsa Amini was arrested by the Iranian vice squad because she was wearing her headscarf wrongly. Three days later, she died in custody. Her death set off a howl of Protest all over the world. Many exiled Iranians, who fled the new regime in Tehran in the 1970s, Protested – but also 2nd generation German-Iranians like Jasmin Shakeri, Pegah Ferydoni, Natalie Amiri and Enissa Amani. Together they took to the streets to helP the old country find freedom.
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