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Poet, rapper, playwright and recording artist Kae Tempest is one of the most viscerally exciting artists working in Britain today. They are the youngest ever recipient of the prestigious Ted Hughes prize and have been nominated for both the Brit and Mercury music awards. Tempest has always found support and respect within the queer art scenes, a place close to their heart. In July 2020, they came out as non-binary, announcing that they would publish and perform under the name Kae. This film delves deep into their creative process and gains rare, intimate insights into Kae’s life throughout a period of profound personal and artistic change.
In the foundation of the culture of Japanese MANGA and animation, there lies the humor filled art form, shunga. Shunga is a type of Japanese art by famous ukiyo-e artists of the Edo Period, such as Utamaro, Hokusai, and Kiyonaga, but the artform’s development was thwarted by social norms that tabooed sex. The film Introduces the world of shunga through enthusiasts - collectors, curators, and scholars, including Andrew Gerstle who inspired The British Museum’s historical shunga exhibition in 2013 and Michael Fornitz who owns an auction house in Denmark. Exploring the significance of shunga by analyzing it from historical, cultural, artistic and contemporary female points of view.
Poème Électronique is an 8-minute piece of electronic music by composer Edgard Varèse, written for the Philips Pavilion at the 1958 Brussels World’s Fair. The Philips corporation commissioned Le Corbusier to design the pavilion, which was intended as a showcase of their engineering progress. The pavilion was shaped like a stomach, with a narrow entrance and exit on either side of a large central space. As the audience entered and exited the pavilion, the electronic composition Concret PH by Iannis Xenakis (who also acted as Le Corbusier's architectural assistant for the pavilion's design) was heard. Poème électronique was synchronized to a film of black and white photographs selected by Le Corbusier which touched on vague themes of human existence.
Through ten carefully chosen cover versions that whisk us from the British Invasion to a noughties X Factor final, this film journeys over five decades to track how artists as varied as The Moody Blues, Soft Cell, Puff Daddy and Alexandra Burke have scored number 1s with their retake on someone else's song. Each of the ten classic cover versions has its own particular tale, tied not only into its musical and cultural context but also the personal testimony of the artists, producers and songwriters whose lives were changed in the process.
In this film, Laerte conjugates the body in the feminine, and scrutinizes concepts and prejudices. Not in search of an identity, but in search of un-identities. Laerte creates and sends creatures to face reality in the fictional world of comic strips as a vanguard of the self. And, on the streets, the one who becomes the fiction of a real character. Laerte, of all the bodies, and of none, complicates all binaries. In following Laerte, this documentary chooses to clothe the nudity beyond the skin we inhabit.
Between the nostalgia of resurfacing roots and the desire to venture into song to experience a rebirth, Nicolas Maury reveals himself unguarded before Didier Varrod, with a deeply moving sincerity. Nicolas Maury released his first album, La porcelaine de Limoges, in January 2023—a new experience for this unique, demanding, and multifaceted actor. It is an opportunity to paint an intimate portrait of him through an extended interview on a train between Paris and Limoges. In this specific setting, which was also that of his first (silent) film role with Patrice Chéreau in Those Who Love Me Can Take the Train, Nicolas discovers archives and hears from close acquaintances who speak about him. A documentary film, like a kind of initiation rite, it moves back and forth between memories of France and childhood, and his condition as a man and artist today, taking on a new identity through music.