Overview
This footage is almost entirely black, save for a few shots possibly showing electric poles outside.
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Documentary short film depicting the filmmaking activity at the Paramount Studios in Hollywood, featuring dozens of stars captured candidly and at work.
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Documentary without audio produced by deaf people. Music is depicted visually with the complete absence of musical instruments or voices. Directed by Makihara Eri and choreographer Dakei. With a diverse lineup including ordinary deaf people with zero acting experience and a choreographer who performs in Japan and abroad, this film pulls out all the tops to give visual expression to music through the physical body. An aging man uses multiple sign language poems to convey the four seasons, and a girl expresses the wind amidst the rustling trees.
Blue Movie
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Pamir
A film record of a Soviet expedition to Pamir, not to be confused with Krysha Mira, a different 1928 expedition film also about Pamir, directed by Vladimir Erofeyev, released in USA as Roof Of the World. A pictorial record of the 1928 Russian-German expedition to explore and map an area of the unexplored heart of the Pamirs. During the expedition, three German researchers (E. Allwein, E. Schneider and Karl Wien) made the first attempt to reach the highest point of the Trans-Alai Range, which at that time had the name of the Kaufman Peak (today, Lenin Peak or Ibn Sina). They started climbing upstream of the Saukdara river and continued climbing along the Greater Saukdara Glacier towards the Krilenko Pass at 5820 m. On September 25, 1928 they started climbing from the saddle along the NE Ridge and at 15.30 they made the first ascent of Lenin Peak at an altitude of 7127 m.
L'intimité
L'intimité
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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.
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A condensation of a handful of sunsets with various visual moods. Red and blue as opposites that still find a way to cohere. Concrete silhouettes over an ever-changing, expanding canvas. Every movement is collective, molecular. Over an invisible horizon, a chance presents itself to meditate on the “speed” of water (and the sea) and also for a more fluid kind of editing.
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