monument

Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.

Documentary filmmaker Renton Hinderer takes a look back at his long relationship with one of his closest friends to understand the paths we choose in life, and how friendship is eternal through it all.

Staged as a series of voiceover sessions, written with gloriously off-balanced precision and dipped in the color green, THE FUTURE TENSE unfolds as a poignant tale of tales, exploring the filmmakers’ own experiences in aging, parenting, mental illness, along with the brutal history that lies submerged beneath Ireland’s heavy, moist earth.

Chronicles of a male homosexual drug addict in 1980's in voice-over with long take scenes from Rome, television snippets of news of Gulf War and commercials.

Stan Brakhage is a film maker whose work is shown mainly at film festivals. His work has been likened to poetry. Brakhage explains his techniques and his motivation.

In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.

An experiment and a dialogue about recording, the act of filming and the colors available to whoever points the camera somewhere.

"A l likeness is a gift... it avoids... or confuses time if your prefer." said John Berger. Following this premise, 81.92 is a structuralist inquiry into the notion of presence and absence as it reveals archival radio broadcasts from former Montreal radio host Mike Wolkow. The former (the audible) is left invisible while the later (the visible) seeks to find the missing elements that trace the passage of this vocal presence. Past and present interplay in this piece that shifts between epochs, thus mimicking a radio signal that is being tuned in.

A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.

From the rights of minors before the juvenile court, young offenders from the neighborhoods of eastern Paris, or children of Algerian origin from the shantytowns of Nanterre, to the defense of colonized Kanaks and Polynesians; from the fight for conscientious objector status to the denunciation of torture and the death penalty, lawyer Jean-Jacques de Félice has been involved in every struggle. His pacifism knows no bounds: with organizations like Cimade, LDH, and the Louis-Lecoin Committee, he assists draft dodgers in numerous countries. These include Portuguese conscientious objectors refusing to fight in the wars in Angola and Mozambique, American deserters opposed to the Vietnam War, and Israeli objectors refusing to serve in the Occupied Territories. It is no surprise that, as early as 1971, he was one of the very first lawyers representing the farmers of the Larzac plateau.

In the dressing room of the French cinema, minutes before attending a lecture, François Truffaut recalls his trajectory