Fresh arrivals, theater releases, and newly added cinema
” In the culture of late capitalism in general, we are always living someone else’s dream, which is also no one’s dream “ Mark Fisher | Ghosts of My Life
A girl tries to reconnect with her childhood, haunted by her youthful self.
The director returns to her homeland in a Bulgarian valley long shaped by the dichotomy of “Guns and Roses”: the harvest of roses that stretches across the landscape and the Arsenal weapons factory that employs much of the region. The film looks at labour—delving into the workforce that sustains this town, inexorably shaped by the current political context of migration and war—and at filmmaking within the working context. Echoing a tradition of direct engagement with labour, the director herself enters an unexpected and risky exchange of roles.
Eve is donating her childhood dollhouse away to an antique store ran by a lonely old woman Lynne. As Eve explores the stores treasures, filled with memories of their past owners, she warms to Lynnes helpfulness. Picking out a recipe book, she takes it home to discover Lynnes name written in it. As an act of kindness, she brings a birthday cake baked from the recipe book back to Lynne at the store, with a new mindset and hope to retrieve her dollhouse back. Lynne is delighted by Eves recreation of her childhood cake, taking her back down memory lane, but as Eve bargains to take her dollhouse back, a little girl in the store begs her mother to purchase it. Eve watches as her item finds its new owners, reassured she is passing down a treasure for the girl to cherish as she did.
A prelude introduces the algebraic calculation of a rainbow’s arc, reputed to be by Baruch Spinoza and dating back to 1687. A shadow observes itself, connecting two points. Through a series of single, double and triple exposures, the three colour records of 16mm film emulsion converge and diverge. Breath becomes a source of movement, and language transforms into frequencies, as if they could become light, through the recitation of three poems by Friedrich Nietzsche from 1887.
Alondra just wants the perfect wlw yearner fantasy confession she has planned to go right. Step-by-step. Bullet-per-bullet. However, the disembodied voice of a ‘hey mamas-sheesh pare” brodie doesn’t seem to let her.
Haunted by the aftermath of a camping trip gone wrong, Topher is drawn into a brutal and increasingly surreal world where unseen forces pull the strings—and his understanding of reality begins to fall apart.
A nun turns to prayer to ask her God to free her from suffering...
In 1920, Teresa and Maria live on a farmhouse. Maria does all the housework: she looks after Teresa, cooks, washes clothes, sews, and sings to her at bedtime. But when Teresa falls asleep, Maria doesn't rest; she continues with her chores. A visit from a neighbor arouses Teresa's curiosity, making her daily routine more interesting.
After a devastating breakup, a woman follows a mysterious figure into the fog on a remote Nova Scotia beach, plunging into a supernatural nightmare the ocean won’t let her escape.
Two pairs of legs, Lennon and Lindsey, embrace the challenging journey to explore if their continuous encounters really are just coincidences.
In this dreamlike animation, two women fall in love and are metamorphosed into strange creatures, symbiotic with the natural world around them.
Following the mysterious death of a friend, a teenage boy descends into a fractured nightmare built by the enigmatic businessman Richard Eagleton and his own subconscious.
Four young piglets go on a workplace visit with their school, getting a sneak peak into their possible future at ‘The Happy Pig Brand’.
A remake of 'The Home Studio - Wes Anderson Study', made an year later.
Remains Unsaid is a non-film created using a laser engraver. While scanning my late brother’s poetry to disseminate to family, I was fascinated with the overlapping text inherent in the editing process and the visual anomalies created by the Underwood-Olivetti typewriter. This moving image artwork is an assemblage of these artifacts, printed on transparency paper and cut into 16mm strips. The audio was captured from a projection of the film on an Eiki Slim Line.
A journey through leather, warmth and light, and the disembodied fear of catching the last train home. Our film has taken shape through a mix of live action, stop motion, and visual programming that connects the rural and the digital to form a journey in transit, flicking between both spatial planes in this search for home.
Brad Upton has spent decades finding the funny in getting older. In CODE BLUE, he may have more material than ever. From pill caddies and bad drivers to marriage, kids, generational differences and the indignities that come with aging, Brad brings his sharp, boomer perspective to an hour of comedy about a life well lived—and a body that occasionally has other plans. Behind the laughs is a deeply personal story that gave Brad a new appreciation for taking life as it comes, enjoying the ride and finding humor even when things don’t go according to plan. Funny, personal and unexpectedly heartfelt, CODE BLUE is Brad Upton at his best: laughing at life, aging on his own terms and proving there’s always something worth finding funny along the way.