N’importe Quoi (Extérieur – Jour)
The second part of the N’importe Quoi series, the first being N’importe Quoi (for Brunhild), also comprises footage of Brunhild Meyer-Ferrari at her home in
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The second part of the N’importe Quoi series, the first being N’importe Quoi (for Brunhild), also comprises footage of Brunhild Meyer-Ferrari at her home in
“An autobiographical reflection on his unassuming name leads the filmmaker down a wayward path through family photographs, personal archives, and internet searches. Alternately wry and
‘Caco, João, Mava and Rebecca’ follows 4 teenagers improvising with dance and movement. The camera follows each of them in long continuous shots, observing an
Bella, Maia and Nick witnesses the reunion of three teenagers surrounded by musical instruments in a room overlooking the sea. They play the instruments or
Oumi is the third and final part of From nothing to something to something else, a series of three portraits of teenagers. While the first
At the side of a field a girl sits bored, listening to the idle chat of bargain hunters. A camera is placed in the grass
Elephant Boy (2016) sees Krishna Istha re-enact the introductory sequence of Zoltan Korda’s Elephant Boy (1937), in which child actor Sabu recites lines by rote
Lagerah – The Last Born is a work anchored around theories of abolition, rebellion, ancestral knowledge and love. Shot on location in Scotland, London and
The Invisible Worm is a funny / serious film with spontaneous moments of joy, physicality and thinking aloud. The subtext of the film is the
Alfred Roch, member of the Palestinian National League, is a politician with a bohemian panache. In 1942, at the height of WWII, he throws what
‘The Umpire Whispers’ is an exploration of the intimacy that arises between a swimming coach and an athlete. In the film, Manna returns to meet her coach
Wayfaring Stranger charts the life of an itinerant character, embodied by seven performers, across seven days, representing seven decades. Running from the city, through post-industrial
Margaret Salmon’s three films collectively titled Ninna Nanna, depict the experience of three Italian mothers raising their children, with the films linked by a traditional
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