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Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.
An enigmatic glimpse of life through precarious vignettes, propelling a narrative through a nebulous and opaque structure that sutures the filmmaker's home movie footage to archival material—from Hollywood narrative films to political selfie videos. A handmade impression of a time suspended between past and present and the ghosts and places occupying it, contemplating the nature and meaning of vision, memory and image making.
On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.
Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.
I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.
A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.
