Movi Hub

6.0

Going Back Home

2000

Turmoil of unsheltered childhood: The dwelling as self.

6.0

Hibiscus

2019

'Hibiscus' highlights the city's hidden beauty and the warmth of its people that may go by unnoticed on a daily basis but are beautiful reminders to appreciate.

0.0

DIALOGUE

2018

Emerging from a period of withdrawal, a social recluse or ‘hikikomori’ relates her inner experiences against the backdrop of an illuminated and restless urban environment that never sleeps.

6.9

Aznavour by Charles

2019

In 1948, French singer Charles Aznavour (1924-2018) receives a Paillard Bolex, his first camera. Until 1982, he will shoot hours of footage, his filmed diary. Wherever he goes, he carries his camera with him. He films his life and lives as he films: places, moments, friends, loves, misfortunes.

2.0

The History of the Hands

2016

The film is a study of nature and significance of the hands in cinema. Besides review of movements and actions, which creates an independent story, it reveals interactions and interdependence of cinematic traditions of various authors, countries and periods

0.0

Approach the Truth_Superman

2006

Time to Remove Superman It is fragmentarily a story of death and it can also be connected to the opposite - birth. When I did research for this work, what was really interesting was an article read that 'We came from dirt and we go back to dirt' is everywhere in all religions and philosophies of all cultures. And I found that sentence and thought over different things and I reached it was meant to be only that way. Regardless of primitive or modern society, religions or philosophies couldn't help but think human body is rotten away and it is cremated and made dirt. We know the process but we haven't seen that. I thought it would be meaningful if I made that out to show. We've watched a mummy disappearing in a movie using CG but I thought I could visually display a message that things we cherished or in which knowledge was contained were made dirt or on the other way, they had been dirt before they came to us.

5.7

Daumë

2000

Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play. Daumë is both ethnography and critique; it is an interrogation into how to represent a place that can't be represented.

5.8

Terra Incognita

2002

Terra Incognita is a lensless film whose cloudy pinhole images create a memory of history. Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.

0.0

2minutes40seconds

1975

One of the major works by South Korean feminist film collective Kaidu Club, this short is a dynamic, idiosyncratic, and mosaic-like portrait of Korean life, culture, and people who dream of a unified North and South.

4.8

Homo Paradoksum I

1989

An experimental film about life on earth as a cosmic experiment and the curiosity and naivete of reaching out to alien life.

6.9

The Five Obstructions

2003

Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.

5.0

Group Portrait as a Still Life

1993

Documentary on the interdependence of the world of the living and the dead, and 'the infernal influence on the thoughts and actions of living people.

4.4

1/57: Experiment with Synthetic Sound (Test)

1957

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

1.0

Minot, North Dakota

2008

The town Minot is home to a U.S. Air Force base that guards 150 nuclear missiles buried in northern North Dakota. The weapons of mass destruction placed there 50 years ago are still targeted at Russia. Minot, North Dakota portrays an American landscape where people live with nuclear bombs in their backyard.

0.0

Alex & José

2007

Alex and José, is a 16mm single channel projection that explores gender, movement and form.

0.0

Still Life

2004

Still Life gazes unflinchingly at the violence of war, observing the eerie architecture of the West Bank and Gaza Strip collapsed under Israeli occupation. This portrait provides brutal witness to how government sanctioned destruction metes upon structures of home and State. Unlike the mediated images of current warfare, Still Life examines the effects of the destruction of Occupation through the details of cinematic landscapes and its inherent inhabitants. In its relentless questioning reaffirmed with a unique and unremitting soundtrack by composer Zeena Parkins, Still Life forces us to focus on details of devastation.

0.0

Robert Breer At Home

1992

Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.

0.0

Untitled #29.95

1999

Originally produced anonymously and distributed by RTMark, Untitled #29.95 tells the story of the commercial art establishment's attempt to turn video art into a precious commodified object through the release of limited editions during the nineties.

0.0

I Have No Memory of My Direction

2005

Ostensibly searching for an emotional connection with her aging father, the woman contemplates her own inherited culture and familial touchstones. Her North American pop culture sensibility fuses with a distorted Japanese perspective to create a surreal interpretation of a “Japan of the imagination.” This fictional landscape is peppered with invented Japanese myths, ruminations on memory loss, the temporal space of digital photography and the ghosts of inherited imagination.

8.0

Tree of Knowledge

1981

It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.

Genre	Documentary
Production Ccountries	Argentina

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