Isabel Medarde

Daniela Benito

Olivia Benito

Lourdes Oliden

Marisa Oliden

Spain, early 20th century. As a child, Leocadia Cantalapiedra was dazzled by a new art: cinema; but she lives in a society where directing films is something only men can do.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on.  Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

For the first 50 years of film history, the newsreel was a fixture in American movie theaters. From 1911 to 1967, these shorts proved an influential source of information – and misinformation – for generations of American moviegoers. Television news and public affairs programs became a great improvement over the scanty information offered by the newsreels. This documentary offers insight into a medium which has disappeared.

The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. This Is Not a Dream explores the legacies of this revolution and its continued impact on contemporary art and performance.  Charting a path across four decades of avant-garde experiment and radical escapism, This Is Not a Dream traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way.

To be in Venice and see the architecture of New York, to perceive in a painting by Tintoretto the birth of animated images, to look at the burlesque Cretinetti as the ancestor of montage - so many shifts, displacements, and striking telescopings that Philippe-Alain Michaud proposes in this film dedicated to him. To follow this art historian, curator of the cinema collections at the Centre Pompidou, is to go from the oriental carpet to the film, or from the first fireworks to the cinema. And everywhere the animation of the images - projections of Antony McCall, or of Paul Sharits, Column without end of Brancusi, Pasolini's Accatone - everything moves!  Under the tutelage of Aby Warburg, the great art historian of the early twentieth century, precursor of iconology and image comparison, to whom Philippe-Alain Michaud was the first in France to devote an important essay, eleven images are placed on the table to describe the singular journey of this art historian.

Four lives that could not be more different and a single passion that unites them: the unconditional love for their cinemas, somewhere at the end of the world. Comrades in Dreams brings together six cinema makers from North Korea, America, India and Africa and follows their efforts to make their audiences dream every night.

A fragmented collection of independent closed cinemas, in London during lockdown, captured on Super 8mm film.

CRASHLAND is a docufiction. A blend of documentary and narrative vignettes that tell the story of a crash test dummy as it attempts to find purpose in a small, college town, in the summer of 2016.

During the Syrian civil war, the district of Yarmouk, home to thousands of Palestinians, became the scene of dramatic and ferocious fighting. The film follows the destiny of civilians during the brutal sieges, imposed by the Syrian regime, that took place in the wake of the battles. With his camera, Abdallah Al-Khatib composes a love song to a place that proudly resists the atrocities of war.