Adios amigo mío, sin gestos, sin palabras

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.

In an intimate and joyful story of love in the face of loss, celebrated poets Andrea Gibson and Megan Falley find strength—and unexpected hilarity—in what might be their final year together.

From the heights of her modeling fame to her tragic death, this documentary reveals Anna Nicole Smith through the eyes of the people closest to her.

Alexander McQueen's rags-to-riches story is a modern-day fairy tale, laced with the gothic. Mirroring the savage beauty, boldness and vivacity of his design, this documentary is an intimate revelation of McQueen's own world, both tortured and inspired, which celebrates a radical and mesmerizing genius of profound influence.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.

Film adaptation of French economist Thomas Piketty's ground-breaking global bestseller of the same name: an eye-opening journey through wealth and power.

Daniel Craig candidly reflects on his 15 year adventure as James Bond. Including never-before-seen archival footage from Casino Royale to the upcoming 25th film No Time To Die, Craig shares his personal memories in conversation with 007 producers, Michael G Wilson and Barbara Broccoli.

Follow the evolution of the 'Halloween' movies over the past twenty-five years. It examines why the films are so popular and revisits many of the original locations used in the films - seeing the effects on the local community. For the first time, cast, crew, critics and fans join together in the ultimate 'Halloween' retrospective.

Serial killer Dennis Nilsen narrates his life and horrific crimes via a series of chilling audiotapes recorded from his jail cell.

A documentary about how a dominant cultural and demographic institution both sustains their traditional activities and adapts to the digital revolution.

A dreamlike conversation with the past and the present, reimagining Latasha Harlins' story by excavating intimate memories shared by those who loved her.

Alex Gibney explores the charged issue of pedophilia in the Catholic Church, following a trail from the first known protest against clerical sexual abuse in the United States and all way to the Vatican.

A gripping tale of intrigue and mystery in the art world, this film traces the history of a collection of Post-Impressionist paintings - worth billions - which became the subject of a power struggle after the death of its owner. Dr. Albert Barnes.

Through deeply personal interviews with her siblings and an examination of the photographs, letters, and belongings left behind, Mariska assembles a new portrait of her mother Jayne Mansfield, an extraordinary and complex woman.

A documentary on legendary movie-poster artist Drew Struzan.

A documentary on the modeling industry's 'supply chain' between Siberia, Japan, and the U.S., told through the experiences of the scouts, agencies, and a 13-year-old model.

Just two years away from turning 30, participants in Michael Apted's documentary series are facing serious questions of identity and purpose, wondering whether they've found their place in the world.

Brilliant, long in-the-works story of the life and art of the world's greatest comedian and the cinema's first genius, Charlie Chaplin. Produced, written and directed by renowned film critic Richard Schickel.

Over 35 years after Bob Lazar's revelations, this documentary exposes secrets of a facility the government still denies. Featuring Lazar's testimony, recreations, and new evidence, it reopens a case that continues to spark global curiosity

A documentary about the life and films of director John Ford.

Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings.

Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

A collage of newsreels, trailers, clips and other visionary and unseen fragments of sight and sound regarding the late plastic artist Helio Oititica.

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Arguably Larry Gottheim’s most exuberant experiment in the single-shot, single-roll format (and his first with a soundtrack), HARMONICA trains the camera on a friend improvising a tune in the backseat of a moving car. Held out the window, the harmonica becomes a musical conduit for the wind, while Gottheim's film transforms before our eyes into a playful meditation on wrangling the natural elements into art. - Max Goldberg

Two friends walk and draw circles. It is what it is, idizwadidiz, c’est ce que c’est, seskecé. Nice weather.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Two halves split by the perseverance of a scorpion. Come on, feet.

The last woman on Earth: Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments and visions of the future. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of humankind’s relationship with the natural world.

An eight-hour contemplative epic, entirely starring sheep.

The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.

'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

In continuous motion with no end or barrier in its way.

A manufactured memory.

WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.

This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.

This stream-of-consciousness could be nothing less than pathway of the soul, as images of Marilyn's window are remembered from inside-out, its "view" interwoven with all of other windowing and the Elements of the known world.

"Firstly, I revealed in salutary confession the secret filth of my misdeed, which had long been festering in stagnant silence; and I made it my custom to confess often, and thus to display the wounds of my blinded soul..." (Petrarch, 1352, in a letter to his brother). I wish to avoid any "classical" misunderstandings of the above quote by stating clearly here that any sacrifice of love is, yes, "filth" or at the very least "misdeed." An academic reading of Petrarch tends to bias thought that there are kinds of love which might be wrong: I do not believe this. (SB)