In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.
Jørgen Leth, Lars von Trier, Claus Nissen, Majken Algren Nielsen, Daniel Hernandez Rodriguez, Jacqueline Arenal, Vivian Rosa, Patrick Bauchau, Alexandra Vandernoot, Marie Dejaer, Pascal Perez, Meschell Perez

Documentary about the making and reception of Carl Th. Dreyer's final movie, "Gertrud."
2022

A feature-length documentary on the life and work of Wisconsin grindhouse cinema auteur Bill Rebane, featuring historians, critics, and filmmakers, plus cast and crew members who worked with Rebane himself.
2021

The armies of Fascist Italy conquered Addis Ababa, capital of Abyssinia, in May 1936, thus culminating the African colonial adventure of the ruthless dictator Benito Mussolini, by then lord of Libya, Eritrea and Somalia; a bloody and tragic story told through the naive drawings of Pietro Dall'Igna, an Italian schoolboy born in 1925.
2020

What is anime? Through deep-dives with notable masterminds of this electrifying genre, this fast-paced documentary seeks to find the answers.
2019
Jean-Claude van Damme, Sheldon Lettich and more discuss the 1991 film "Double Impact" from inception to reception.
2019
This cine-portrait of New York City uses digital effects to turn the countless riders of the subway system into living, breathing paintings.
2017

Rainer Kohlberger applied various algorithms to extract the noise from a vast number of action films and used this to reduce the dramaturgy of the narrative to its essence. keep that dream burning oscillates between maximum abstraction and pure blur. Within the blurriness, objects form and disappear. The surface allows the space to be conceived.
2017

In the Mojave Desert, fields of solar panels follow the sun’s daily journey in perfect synchronicity.
2016
This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”
2013

George Lucas and Steven Spielberg tell the struggles and the passion for making the Indiana Jones Trilogy.
2003

The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.
1999

An up-close look into the life of the often misunderstood movie director Grigori Kromanov through the lens of old friends and colleagues.
1996

Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope
1989

The Displaced View traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history, are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative, question documentary as truth.
1988
First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.
1987

A behind-the-scenes documentary on the making of Barta’s masterpiece.
1985

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.
1975

An experimental sports film made partly during the Scandinavian Open Championships in Halmstad in 1970, partly during the Chinese players' exhibition tour in Denmark immediately after the SOC. First of all, it is a film about their style, about the artistic culmination that is ping-pong at its best, it records China's comeback into the international sports world.
1972

Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.
1971
Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.
1969