Stupri Italiani 17: L'uomo senza volto

Mostly shot in San Francisco and Northern California, material filmed (using the camera almost as a p[r/a]inter, a means of shaping the visual world as film, but without reflection) in response to what that world was opening in me. "Material!" - analogies between weaving and spinning thread and images already a pattern within film history (e.g., in Deren) is here carried into further ramifications of unraveling and patterning in fabric- and cinema-making, as well as in personal and mythic dimensions. The open unfolding structure, which pulls away from the balanced design of much of my work, gives equal weight to the sound composition. Involves "opening" with its perils and ambiguities.

Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating. (Dangerous Minds)

Valerie is a self-confident and modern woman - she commutes between L.A., where she works, and Berlin, where she lives with her partner above the rooftops of the city. When he falls ill and falls into a coma, she wakes up at his bedside. Valerie decides to return to L.A. one last time, burn all her bridges there and move to Berlin for good. She decides to record a video diary for her absence and begins to narrate for her loved one the day before her departure. Intended as simple messages of love, Valerie's memories are suddenly unleashed in the midst of the recordings. Playfully, she loses her shyness in front of the camera, her emotions burst forth and allow her to relive the story of her great love. What began as a game becomes a reckoning with life and love.

After being fired, Marcella, a gentle hearted mother going through separation, buys a tow truck; she gets trapped deeper and deeper in a cynical and aggressive world until a terrible opportunity shines in front of her.

Money talks. Teens in Los Angeles discuss money: getting it, spending it, and learning to live without it.

After a major bio-weapon attack on London, two scientists find themselves in a locked-down laboratory with time, and air, running out. With choose-your-own-path style gameplay, your actions and your relationship with other characters will lead you to one of eight suspenseful endings. Having treated the victims of a chemical attack in the totalitarian state of Kindar, Dr Amy Tenant is a leader in the advancement of Nanocell Technology. Now, in London, news breaks of a blood-vomiting civilian whose identity is far from coincidental. Reunited with an old friend, Amy is trapped in an impenetrable HQ of laboratories—a womb of scientific advancement with a perilous secret.

Mexico does not have the necessary social and governmental support for those who study arts, specifically music. With the help of two saxophonists we enter the life of musicians in Mexico, as well as discover the reason why they decided to study these careers, something that would seem a daring on their part, but perhaps it is what is needed in Mexico

The Follies of M tells the story of the Provincial Parish of M, famed for it's quantity and variety of architectural follies and introduces the misshapen residents who indulged in suck reckless construction projects.

From his diary, filmed over ten years, filmmaker Alain Cavalier invites us to a meditation on old age, weakness and death. Made of moments of life, fragments of images, this film composes a mosaic where the spectator is invited to also find his place by himself...

The film revolves around a traditional Brahmin family and the fight between their beliefs and atheism.

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

The film begins with shots of the castles of Bezděz, Točník and Karlštejn. In a restaurant at Karlštejn the guests remind Hašler that he is performing at the Varieté club. Hašler misses the train so he starts walking along the main road in the hope of getting a lift. In despair he forces a car to stop and makes the chauffeur to drive backwards to Prague. They stop at the wharf but, because he misses the steamboat , he uses a motorboat. The rest of the journey is spent on a tram. Hašler then quickly changes his clothes in his flat he reaches the Varieté club across the rooftops.

Stole Popov's Oscar-nominated Dae depicts a group of Roma celebrating St. George's Day. The documentary doesn't contain dialogue, just footage of the festivity.

A love story of the 21st century. Hoping for change, Ema runs away from her family and leaves her husband. She hides at the apartment of her hairdresser, a gay guy Tony, even though she barely knows him. At the beginning they are merely two strangers, connected by their mutual effort of escaping from their families. They get closer and help each other to overcome the internal, as well as external, obstacles of their lives. Their liberating friendship almost becomes a love affair, despite the fact it cannot be fulfilled. This liberation creates an intense bond between them: a new escape, a new quest. This is a love story of two people and their attempts to escape the trap of their own desires of belonging to somebody.