Holy North!

A collection of moments as a man attempts to recover from a heartbreak, but finds himself in mental turmoil.

Ananias, a San Francisco Bay Area artist and immigrant, performs the folkloric Danza de los Viejitos (the Dance of the Old Men). Originally from Michoacán, Mexico, where the dance originates, Ananias interprets its movements through the lens of his spirituality, his long-term HIV-related disabilities, and his search for a place in the world.

A documentary about the sea and memory. Its movement is its form. Its strength.

After a woman comes into contact with photographs from an archive, she reflects on her existence through her memories and the memories printed on photographs.

Chronicles the powerful friendship between two young Black teenagers navigating the harrowing trials of reform school together in Florida.

A film about a man who looks like 100 rats shoved inside a trench coat.

Two robots embark on a quest to become human.

Two gay men in Japan discuss the end of their respective relationships.

A three-chapter (Hell, Purgatory and Paradise) meditation on the city of Sarajevo in the wake of the Bosnian war, on Palestine and Israel, and on war itself.

A person reflects on their thoughts and life during the night, until a single connection reveals who we truly are through our interactions.

A look at the monotonous daily struggle of a father and daughter in a windswept, desolate landscape. Over six days, their routine of eating boiled potatoes and tending a failing horse crumbles, symbolizing a slow descent into darkness, emptiness, and the end of existence.

“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?