6.2
After initially sweeping through Asia, Korean pop music has now taken the world by storm led by the likes of SNSD, JYP and PSY. Take a look behind the scenes of the formation and debut of the 9 member girl group, Nine Muses, in a documentary that gives a glaring insight into the world of K-pop. Follow a year long journey with the Model Idols, as they have been called, and their management label, the relatively small in stature Star Empire, leading up to the group’s debut and emergence in the K-pop charts. Covering everything from dance lessons, recording sessions and the physical and psychological toll on the girls, the film reveals the lengths the girls must go to achieve their dream, to become K-Idols.
6.1
During the 2020 lockdown, Lucrecia Martel returns to her home in Salta, Argentina’s most conservative region. Here she follows Julieta Laso who, like a muse, introduces her to a group of female artists and defiant people who exchange glances and opinions around a fire.
6.1
Jean grew up in a community under the influence of a guru named Chris. Years after escaping its grip, he receives a mysterious package. Chris has just died and Jean's sister who has lived all this time reclusive by his side sends him recordings. In these mysterious sound and visual archives, Jean rediscovers voices and sounds emerging from the past. On the tapes, interviews between members of his family and Chris. The memories start to come back : Jean decides to follow in the footsteps of the missing guru to try and decipher his family history.
6.1
In collaboration with Lomo, an Austrian camera company, and Mubi, a global film website, Weerasethakul was invited to make a work to launch the new LomoKino, a portable motion picture camera. Ashes juxtaposes the intimacy of his daily routine with the destruction of memories and his observations of the dark side of Thailand’s social realities.
6
You’d never know this is your home away from home. The surveillance camera outside shows a drab reception area and an unremarkable street in Mexico City; inside, the lights flash, but the tables are empty. Yet preparations are soon underway and fixed categories cease to apply: stubble is removed, make-up applied and strands of hair are teased into place; the camera is trained not on the men themselves, but what they see in the mirror.
6
An experimental exploration and celebration of the Juggalo subculture in Buffalo, New York. Long and static takes of Juggalos engaged in their favorite activities, first and foremost of which - causing mayhem. Among these seemingly random acts of the everyday, preening, sexual gratification, backyard wrestling, explosions and destruction, a tentative narrative begins to emerge.
6
Erasmo Chambi is a Bolivian immigrant who survives on the outskirts of Buenos Aires, giving wrestling shows at local clubs. In his home country, he was a legendary wrestler: there were trading cards, posters and action figures of his character, El Ciclón (The Cyclone), which today are only relics in a forgotten drawer. Nowadays he trains his son to be his successor.
5.9
Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.
5.9
Adashi, ex-member of the Japanese Red Army, narrates a story taking place in Beirut. The melancholy of war, the pain of disillusionment. A story being written and rewritten, open to interpretation. When the time comes, return to reality can only be cruel.
5.8
Rome, 1968: at the pinnacle of his artistic career, Pino Pascali died in an accident. 50 years later the Pascali Museum in Apulia—where Pino was born—buys and exhibits one of his works. This is the story of a work of art returning to its origins told through Pino Musi and Pino Pascali’s photographs.
5.8
As a major storm strikes Texas in 1900, a mysterious televisual device is built and tested. Blake Williams’ experimental 3D sci-fi film immerses us in the aftermath of the Galveston disaster to fashion a haunting treatise on technology, cinema, and the medium’s future.
5.8
On December 8, 1983 a fifteen year old Jewish boy from the city of Haifa was kidnapped, murdered and sexually abused after his death. Five Arabs who worked in in the neighborhood’s supermarket were convicted and imprisoned for life and 27 years. The conviction was based only on the defendants’ confessions and reconstructions. Seventeen years after their conviction, the five defendants still claim they are innocent. "The Reconstruction" follows the police investigation and juridical process step by step. The heart of the film is the original videotaped reconstructions of the murder performed by the defendants in which they admit their guilt.
5.4
Erwin Romulo, the late Alexis Tioseco’s best friend, recalls the events after the critic and his girlfriend Nika Bohinc’s untimely death in their home in Quezon City. Diaz makes use of one long take to allow Romulo an uninterrupted narration of the events. The pain of recalling is palpable.
5.2
Are we in fact living in a simulation? This is the question postulated, wrestled with, and ultimately argued for through archival footage, compelling interviews with real people shrouded in digital avatars, and a collection of cases from some of our most iconoclastic figures in contemporary culture.
4.1
This exploitation classic purports to expose the secrets of the 1960s lesbian underworld.
3.9
In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
South African artist William Kentridge investigates life in the studio. He imagines his studio as an enlarged head, where multiple dialogues occur between the artist and himself. Kentridge begins interviewing his double. Soon, the whole studio is populated by Kentridge’s many selves.
Filmmaker Jack Dunphy secretly films his grandfather’s funeral, hoping to uncover the source of generational trauma in their family. Meanwhile, animated flashbacks and home-movie footage reveal the estranged nature of his extended family.
Small paper puppets and actors wearing masks endlessly dance in a fictional Soviet museum as William Kentridge documents the making of his 2022 installation Oh to Believe in Another World, made in response to Symphony No. 10 by the Russian composer Dmitri Shostakovich.
William Kentridge explores the optimism of making things—how, even in dire circumstances, there will be people who play, create, and sing. He enlists a local brass band to lead a jolly procession out of the studio and into Johannesburg. But will Kentridge’s two split parts come to an agreement?
