Visite

Hamed tries to convince Nadia to impersonate Laila, the daughter of his wealthy uncle, to seize his money. Nadia agrees with him and begins setting her net on the wealthy uncle. However, she meets her ex-lover, Hassan, and tells him her story. Hamed discovers the predicament he is in, and his attempt to kill her fails.

Little is known about the figure of Isabel Santaló, an old artist, today fallen into oblivion. But occasionally some visitors come to her flat. Through them and the voice of Antonio López (Dream of Light, Víctor Erice), the only painter who remembers her, we shape a multifaceted film. This is a cinematic portrait, which well into the film takes a surprising turn. A film that reflects on memory and oblivion, art and the creative process; posing the question of what it means to be an artist and a woman.

The plot revolves around Fatima, who is troubled by a vision of a mysterious person since her childhood. After 22 years of psychological problems, she wants to confront the vision.

A reportage about the Javanese cities of Yogyakarta and Surakarta in the Dutch East Indies; this film was commissioned by the Ministry of Colonies.

The Romanian penitentiary system allows, from 2006, the marriage of people sentenced to serve time in prison. Most of the inmates cultivate the pre-existing relationships with the concubines or partners who live outside the prison walls. Though, there is a special category, of those who find a life partner during their time in prison. VISITING ROOM follows the stories of some prisoners found in different penitentiaries across the country, who have found their life partner during their sentence time. The one is either a person from outside, or as them, a person who is serving time in prison. Our intention was to talk to the people found in the special situation of being deprived of freedom, to whom love becomes a substitute for freedom and represents maybe their only hope for a better future.

Long winded film runs just over six-minutes but we're pretty much shown Iceland's Parliament as they board a ship and are given a reception by the Danish crown.

A girl attempts to reach red apples from a tree. Aliens land on Earth and the girl offers them the fruits.

The film follows Stefan, a student in Berlin. One weekend visit from his parents will change his life and disrupt his entire world.

The story of a famous actress who had an incomprehensible attack on the set somewhere in the countryside and was urgently sent to a rural hospital. There she spends a sleepless night in complete obscurity and decides that she is leaving this world. The actress calls all the close people with whom she talks very openly, believing that they should find out the truth.

Clara, a young orphan, arrives at a convent run by Mother Aurelia, a woman who performs miraculous cures. While trying to adapt to the strange place, Clara will realize that behind Aurelia's powers lies a sinister truth.

In her teens, Mme. Zachanassian had to flee her home town in disgrace. Now she's old and rich and the town is facing bankruptcy. But she returns with news that she wants to help - as long as the townsfolk kill someone for her.

In any city in the interior of the country one more crime with a tragic outcome, the two that preceded were the lives of two young people like any other

Arena Re-Visited:Live! was recorded at the Boerderij, Zoetermeer, Netherlands on 5/12/18 during the 2018 Re-Visited tour.

Visites Possibles explores the possibilities of creating 3D environments based on video images generated by electronic signals. Inspired by architectural renderings and the idea of virtual tour, the video invites the viewer to visit its structure through specific parameters. Throughout the visit, "entities" arise and disappear regularly as if haunting this virtual environment. Visites Possibles also acts as a transitory space where multiple doors open on potential virtual experiences.

Drifting clouds. They are not nice little clouds that invite us to interpret them symbolically; rather they are poisonous and unhealthy clusters, a skin rash of the sky, an impenetrable gray curtain of smog. This is a trailer of impressive tranquility and simplicity. A second look, however, opens up new dimensions: Are there not – as so often the case in Gehr’s work – unsuspected, amorphous forms that manifest themselves? Has an event scurried quickly past us while we were still busy discovering the mysterious in the seemingly obvious? In fact, these are two trailers in one: a palimpsest of the cinematographic pleasure of mystification.