Mem

Tanay is making a film on his beloved friend Milan. While Milan is struggling with his sexual identity, Tanay and his cinema has been questioned whether it can bring any changes to Milan’s life and reform the patriarchal and gender norms.

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This film focuses on an old Palestinian man who is the subject of artist Ismail Shammout’s painting Memories and Fire. The film unravels his memories using archival photographs and Shammout’s own paintings to tell the story of Palestinian experience and resistance. By simply using a montage of visuals and sounds and avoiding narration, Shammout adopts a style that was used by early Soviet filmmakers who wished to communicate across language boundaries, creating a film that offered an non-verbal narrative of the Palestinian cause. The film was screened at a variety of festivals in the former Soviet Union and won a prize at the International Leipzig Documentary and Short Film Week for Cinema and Television in 1973. Recently restored and digitized.

The death of a marriage, followed from the perspective of the family dog.

How do we honor precedent while rupturing it for new life? As living beings we are time and space collapsed. We subvert linear time as we experience and shoulder the overwhelming shadow and noise of different memories, existences, and dreams in every moment. We cry, love, grieve, bleed, and just “are” every day. We pass down and inherit all of these things. We are entitled to keep them—a frighteningly stunning life. What is happening in the current moment, spliced with the past, is to live in memory, and that dynamic is to be human.

a kind of re-make of Hollis Frampton's 1971 "nostalgia" (?) /// ‹‹Following art historian Ervin Panofsky's analysis of linear perspective as a "symbolic form" of the modern age, we may even call database a new symbolic form of a computer age, a new way to structure our experience of ourselves and of the world.›› (Lev Manovich) /// (la expresión personal no es personal)

A woman in search of memory and identity dives into a surrealist journey where cinematic language itself is the vórtex of all reality.

Documentary on what remains of the Aral Sea in Kazakhstan. A team of scientists specialized in the carbon cycle and its implication in climate change travel to Kazakhstan to study the world's largest living laboratory: the Aral Sea. Once the fourth largest lake on the planet, it is now a desert, and the researchers have designed a study to assess whether its drying up involves the emission of millions of tons of carbon into the atmosphere. Throughout the expedition, they will witness both the receding sea and the memory of a family of three generations of women who have suffered the consequences of this change. The team will have to overcome many adversities along the way that will lead them to the inhospitable center of the ancient lake.

A young boy tries to comfort his grieving mother.

Memorialul Durerii is a Romanian Television documentary series about persecution, the labor camp system, anti-communist resistance and the secret police in communist Romania. It started airing in 1991. The main producer is Lucia Hossu-Longin. One of the most memorable interviews on the show was the one conducted in 1992 with Elisabeta Rizea, who joined an anti-Communist guerrilla group in the early 1950s, and then spent 12 years in prison, being subjected to torture.

Venki, who is a murder accused.With his memory loss, the lead role is unable to recollect the entire incident of the murder and the rest of the story is about how he gets out

The protagonist suffers from paranoia that originates from a past incident. The protagonist confronts a monster in a subway which was the stage of the past incident. The monster appears to be identical to the protagonist. The protagonist struggles to run away from the horrific monster and the strange subway. However, for some reason it seems impossible to escape.

A documentary about memories, places and people in Tanta on Youm El Waqfa

The film, directed by Pedro Grimaldi, with his mother as the protagonist, narrates the events unleashed in Jerez since the occupation of the military rebels on July 19, 1936. It is a tribute to the "wounded generation", the one who lost their childhood in the context of the war and the postwar period. Girls and boys who had to mature quickly. But, above all, it is a recognition of a generation of resilient, brave and fighting women who were doubly victims: by the violence of the war itself and by their status as women.

This documentary summarizes one of the most beautiful pages of contemporary history. Thousands of women and men, some "foreigners" wrote them: the page of anti-fascist solidarity with the Spanish Republic and its victorious Popular Front in February 1936 for some, and solidarity with the "revolution" for others; both causes for most of them.

In 1999, Innu community members who, 40 years previously, had been forcibly relocated from their remote northern region of Labrador to established settlements in the province, return to Hebron to reminisce and reckon with the destructive impact the relocation had on their traditional ways of life and Indigenous identity. This film serves as a companion piece to Carol Brice Bennett’s book "IkKaumajannik Piusivinnik – Reconciling With Memories," and stands as the only known audio-visual document of the reunion of a resettled community in Newfoundland & Labrador.