People’s limited view of the world often places the human perspective above the natural cycles. Visual details capture the egotism that often causes us to not see the essence of things, Together with an apt and uncompromising voiceover they call on us to become aware of the impact our actions have on our surroundings.
1982 is not a year, it is a number. It is the number of massacres that occurred in Colombia. Using a Hollywood film from 1919 the film creates a portrait of distant and yet persistent individuals, an observation of the gesture that survives despite the blind light cast upon them by time, routine or indolence.
Excerpts from a television interview with Eugène Ionesco in an adaptation of his absurd story The Colonel’s Photograph, which is dominated by the motif of a swimming pool that conceals drowned bodies. The visual pun is a compilation of techniques: animation, video, 3D graphics, and text, which give the seemingly random scenes a sort of structure.
When making the film, the director got carried away by the environment of a botanical garden. By its aesthetic, the video reminds of the times when photographic technology was still shrouded in the mystery of black-and-white photography; the times that gave rise to many enigmatic films and inexplicable phenomena.
A flying saucer floats through the sky in black and white, creating the illusion of alien forces; upon taking a closer look, it’s obvious that it’s just a toy. The filmmaker examines the issue of videos spreading untruthful alarm messages using the same principles, highlighting the fine line between fact and fiction.
In this portrait, consisting of a collage of the works, archive materials, and creative images by one of Canada’s most expressive video artists, Colin Campbell (1942–2001), Mike Hoolboom looks for parallels with his own work. He addresses broader issues about video as a medium and includes interviews with Canadian artists. The end result is a non-traditional approach to film narrative.
In every battle it is the eyes that are the first to be subjugated.
Tacitus , Germania
This documentary found footage essay, made up of recycled video snippets, deals with the cold and detached depiction of war in the media and in cyberspace. During daily media operations, the terrifying, irrational, and monotonous machinery changes an event, giving it importance as needed...
An experimental western horror film set in Moravian Slovakia brings a new perspective to the legend of St. Wenceslas. Against the shabby backdrop of village merrymaking, the legendary Prince Boleslav, a wine-cellar zombie, fights with his brother over the nature of Czech statehood and a plate of tomato beef stew...
Facs of Life is a ﬁlm of conceptual/poetic dispositifs that charts trajectories of those affected by Gilles Deleuze’s laboratory of machinic thought at the Centre Expérimental Universitaire de Paris 8 – Vincennes (1969-1980).
To become an object of one own's intention.
"A film after film". A director goes to Sabinov, where the Oscar-winning film The Shop on Main Street was shot almost fifty years ago. He meets people connected to the film as well as others who remind him of various characters. A tribute to a particular film as well as to film as such.
This rousing video shows the essence of crowd mentality, the fury and the ecstasy; the visceral thrill of being part of something bigger than yourself.
Thomas Mohr took 1,853 photographs of the exhibition The Order of Time and Things in Museum Reina Sofia in Madrid, which exhibited artist Hanne Darboven's home studio. Rhythmically edited to her composition Requiem, op. 22, book 61, the photos and music pulsate.
While keeping in touch by phone, two protagonists live in a visually completely distinct universe. One is a drone pilot, the other works in an office. Flanet illustrates how technological progress changes the perspectives of human beings: people can share the same reality and still have totally different perceptions.
Stop-motion film Playground shows a battle between nature and culture, between organic ryegrass and artificial turf. American Football is played on rectangular fields, measuring 120 yards (110 meters) long and 160 feet (49 m) wide. These dimensions defined the framework for this film. Made with images found in Google Earth.
The story of our sad hero Eduard Kirchberger begins during the era of the First Czechoslovak Republic. Although he was not an actor, Eduard played different characters throughout his life. Karel Fabián (one of Kirchberger’s pseudonyms) changed with the world around him and did so to such an extent that his own daughters are unable to differ between the real memories of their father and those based just on his books...
Film essay about classical and postmodern supervision mechanisms.
The main topic of the video work Ortem is the metro's traffic system, which creates a specific space and perception situation via its underground architecture.
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