Lights

Song Yuanyi was originally an ordinary taxi driver. His son Song Yue suffered a broken kicking leg. The expensive rehabilitation fee made Song Yuanyi difficult. Unexpectedly, Xu Caishen, a drunk passenger, left a bag containing a lot of cash in it. Song Yuanyi's car. At the same time, the courier was unemployed in repeated complaints on a few days. Xu Caishen, who lost his bag, was upset because of the criminal secret hidden in his bag. Few of his subordinates were unfavorable. Xu Caishen found the day of the week and instilled the error that "all dignity and achievements come from money". In this way, Zhou Ji and Song Yuanyi embarked on the road of injustice in the pursuit of bag hunting and Tibetan bag pursuit respectively.

Experimental film, Polke plays Polke, Christof Kohlhöfer is behind the camera. Together, the artists present abstruse scenarios and breathe a secret life into everyday things with anarchic humour and subversive magic.

One shot, taken using a time-lapse technique, of a sunrise in an Iranian mountain landscape. A thin band of light shines across a starry sky, the sun comes up, the dawn light glows.

When Guðjón, an Icelandic farmer, loses his beloved in the war raging throughout most of the world, he builds a small hut in her memory within the peaceful environment close to his house. It has snowed a lot today. As other days, Alfred theorist, a good friend of Guðjón's from the neighbouring farm, drops by for a visit. Today, old lady Gunna's cat has disappeared and Alfred conveys a special theory that has a strange impact on Guðjón's life.

A Italian short film by Ugo Falena & Ercole Luigi Morselli.

Emaki is a Japanese traditional narrative form in picture and text created from 11th to 16th century. The film is collaboration work between filmmaker Makino Takashi and painter and filmmaker Ishida Takashi. Ishida has been interested in live-picture, the process of paint, and Makino’s interest is to make a new image with extremely high speed random images. With Makino’s skills in telecine, Ishida’s painted lines were rolled and scrolled, and became “the living line”. The film is maybe a chance, or maybe it is a fight. Perhaps, this film will show you both elements. (www.lightcone.org)

Elusive, unconventional, on a quest for the absolute: painter and photographer Dora Maar left a unique and still largely under-appreciated body of work behind her. Maar’s extraordinary life saw her working alongside the greatest names in the Parisian art scene; she was also the lover of Picasso and the wife of Georges Bataille. Toppling conventions and shattering norms, Dora Maar breathed strength and character back into the image of 20th-century women. Hailed by critics, this film is an intimate portrayal that handles its subject with skill and sensitivity.

ILAW (LIGHT in English translation; stylised in all capital letters) is a veiled tale about a woman seemingly rising from unconsciousness, coming to life in a destructed and colourless home. By the name of Inang, she managed to fix and beautify the place until a knock on her door comes.

The story is about a deaf child named Najden and his mother Nevena (Snežana Koneska - Rusi). The journalist (Magdalena Rizova) wants to make a documentary about Najden.

An old man meditates by the sea. A little girl is building a sandcastle. A young couple is frolicking on the beach. The day fades into the evening, as do the memories of youth.

ince the 1970s, Robakowski has been experimenting with the category of the author, transferring the authorship of his works onto the film camera. Implementing the strategy of biological-mechanical records, Robakowski continues his experiments, carried out since the 1970s, consisting in the transfer of the authorship of the film onto the film camera, as well as initiates relations between the mechanical medium and the human organism. On the one hand, it embraces collaboration, on the other, human struggle with the machine, extending from the “integration” of its logic and the attempts at its “anthropomorphisation”.

Lars Hertervig (1830-1902) was considered to be one Norway's greatest artists before he was diagnosed with incurable insanity and pushed out into the cold. The paintings from the last 30 years of his life were considered the scribblings of a child, but subsequently turned out to bear clear similarities to styles that gained ground in Europe several decades later. Was the painter insane or just ahead of his time?

After a devastating discovery about the fate of a friend now confined to a mental institution, the director and his young daughter set out on a 1700-kilometre train journey from the north to the south of Vietnam, hoping to regain harmony and find answers to some questions along the way.

Al’ya, a light-miner girl, desperately needs the help of her father, Qu’rai, to perform a forbidden sacred ‘Kirakira’ lightdance to resurrect an ancient being before they are stopped by a mob of angry villagers.

Nature documentary filmmaker Mikael Kristersson captures the four seasons in his lush garden, complete with chicken sheds, greenhouse, vegetable beds, a hawthorn and a knotty old apple tree. The buzzing of insects and the chattering of birds are the only sounds in this peaceful observation, without commentary, of everyday life in the garden in Falsterbo, an old town in the south of Sweden. Kristersson shot this Super 16 footage over a period of 20 years and edited it together into a natural rhythm.

Portrait of a living legend of Estonian music. Shining for decades, not only in his native country, but in the rock of the former Soviet Union, he became the greatest singer of the re-independence period and the most united of the Estonian people. Through the twists and turns of his colorful life, Tõnis has achieved an extremely exciting sense of the world, from which his work has been carried. The film gives the viewer a close-up view of the composer's mysterious world and a companion journey that inspires the musician.

A highly evocative fable of the flaws of human ambition. It starts with a stormy debate between a man and his conscience. Torn between a rational approach and his desire to go his own way, he finally sets out on a initiatory journey that will end on a desert island. To see into the distance, he builds a lighthouse that will become his ivory tower, while the sea around him becomes the repository of his fantasies of wealth, love and glory. The Lighthouse is a visual feast. A wealth of technical and artistic inventiveness enriches the storyline. An animated film without words.

Ingmar Licht collects messages from a bygone era. Shopping lists, letters or ads which people put in books and then forgot about. The senders of these bookmarks are long gone because the literature comes from estates that the relatives wanted to get rid of. Ingmar Licht sells these books. This has become his job after almost anything in life went wrong. Alcohol, bankruptcy, looking in trash cans for returnable bottles. He tried to hide for a long time, but that's different now. "Seen in the light" is a film about seeing and being seen. Ingmar Licht observes the lives of others with an alert eye, just as he explores the stories behind the notes, the postcards or newspaper clippings, he discovers in the old books. - He wants to show himself, despite and because of his story.

A burnt out woman studying to become a doctor reaches her tipping point.