Documentary / Animation
In her autobiographical documentary, the young director uses cartoon impressions, photographic memories, and the various stages of baking a cake to draw the viewer into her own stream of consciousness, and using images full of kindness, tenderness, and playfulness, she deals…
No cast information available.
Here's a strange one. First, a song on a blackboard: a Polish translation of “I love my little rooster” by American folk writer Almeda Riddle. Then, two men roll around trash bins and lift them to the garbage truck. They do it several times. A woman shouts in the distance. At the end, the picture stops, and the woman sings the song. An early short by Piotr Szulkin.
Between 1993 and 1995, artist and photographer Louis Jammes took pictures of people on the streets of Sarajevo under siege and gave them angelic face and wings. Then he put his huge portraits on destroyed city walls. Suddenly, it seems as life is getting back with their arrival, because they brought a sense of peace, beauty, nostalgia...
The emotion of people easily changes. It is not easy to define what emotion is. We just feel it. To feel emotion is like to observe nature because nature always changes by time, sun, and wind. When we observe nature, the nature tries to say what our emotion is because the nature leaves the trace of emotion.
Humanity makes much progress through a combination of science and magic, until a large war breaks out. Many years later, the magical city of Sosarium (constructed on the Moon) sends an agent down to Earth to make sure history does not repeat itself as civilisation starts to rebuild itself. That agent is known as an Angel.
Among the many dramatic episodes of the siege of Sarajevo in the years 1992 to 1996, the story of a human safari has remained concealed from the public eye. Few people knew that those fighting the war on the Serbian side were not only the Bosnian Serb Army, volunteers and mercenaries but also a small, clandestine group: wealthy foreigners who paid high fees for the chance to shoot at the residents of the city under siege.
Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.
