That Was The Week That Was Sais

I am the dog that was always here (loop) is a nine minutes video loop set in the outskirts of Istanbul, focuses on moments of transition and marginalised experiences of time, seen through the lens of a street dog. Having been moved by the authorities to peripheral pockets and no man’s lands outside the expanding city, the dogs are continuously moving along lines of gentrification and corporate city making. Through looping and repetition, Eriksson relates this process to an experience of time: exploring the present as a complex gap between past and future, one in which an increasing process of erasure, spurred on by a shrinking public realm, also removes other registers of being and seeing.

Toby the dog was the last living legacy of Kevin a long-lost lover who died of AIDS in the 90s. Through a print making process called photo lithography we relive the love and loss of Kevin and Jonathan.

As clouds begin to roll, we see the afternoon life of a busy city. Cars jam the streets, as people make squares of the side streets they walk on. People queue in line as they try to board the city train. This is Sam’s picture of his daily route to the university. He is a young filmmaker, who in his daily commute, picks up his girlfriend Isa from the train station before heading to school together.

This movie is a documentary about Parviz Yahaghi, one of the most famous composers and musicians in Iran, who became isolated after the revolution due to the conditions in Iran. Born in 1935, Parviz Yahaghi, was a regular on the radio show 'Golha' from a young age. Several pre-revolutionary singers such as Mahasti, Homeira and Marzieh became famous for his songs, and with the sound of his violin, many fell in love with Iranian music. He became isolated after the victory of the revolution, although his music was never isolated. Parviz Yahaghi died in February of 2007. The film looks at his life in his own words and in the last years of his life.

"I always hoped that one day my father would write me a letter telling me where he had hidden his love for me. But then he died and I never received the letter." As part of a series commissioned by French TV station ARTE in which 18 filmmakers were asked to use a Hi8 camera and fill a tape with a single shot, Dubosc takes the camera around his deceased father's house in Kamakura and, inspired by the above quote, describes the rare moments in which his father showed his love.

The Björn family is a little odd family.

A rural Iranian school is conducted in a tent. A man, apparently a school inspector, visits the class and asks the students to answer several questions. The man then explains that he is merely a passerby who wanted to know about the school. The teacher then asks a student to tell the man about the time the wind blew the school away.

Countdown of things that happened in the 2000s - the decade that seemed to end before it had begun.

This documentary on the history of East Germany is told from the point of view of its people, using authentic historical footage and documents. It covers cultural, economic, and political developments from the founding of the GDR in 1949, to German unification on October 3, 1990. Highlighted are: the 1953 uprising, the Prague Spring, Bitterfelder Weg, the building of the Wall, the cultural repression of the 1960’s, economic stagnation, Stasi activity, and the East German civic movement and popular upheavals that finally brought down the state.

The leash of the dog that was longer than his life is a live-form movie, running 16 minutes long and filmed in a single shot. A brief image of an athletically-focused, playful day at a clearing in the woods ends quickly as the focus shifts to a barking dog and his chain-link leash. The camera fixates on the leash and the viewer suddenly senses the tension and anger of one restrained. The physicality of the piece engages with concepts of the rule of law, some necessary and some not so. We must be cautious to not become victims of our own idealism – without sacrificing our innate sense of justice. The leash goes on seemingly forever, and we contemplate the binds existing in our lives and in the lives of others as the dog’s leash unfurls for the camera.

Ursula Le Guin reads an essay about her experience getting an illegal abortion in 1950 when she was a senior in college, highlighting how women’s success and happiness is predicated on bodily autonomy.

A short documentary that traces the family history of Josef Stalin's grandson, Evgenij Dzhugashvili, who closely resembles and admires his grandfather, despite having been rejcted by him

The myth of the 60s was created before the decade was out. But what we have lived with ever since is a mirage, a mass hallucination, a fantasy. Why I Hate the Sixties examines the truth behind the myth. It suggests that we were living on borrowed time - we partied as Britain lost an empire and slid into unchecked industrial decline. Archive footage and contributors of all political stripes build the case against the decade where dreams turned to nightmares.

Buchanan Bartlett, shiftless son of Hiram Bartlett, farmer retired, is sent to college to learn things. Father becomes peeved when he receives a bill of expenditures a month later from his son, amounting to two hundred and fifty dollars. The old man decides to investigate things, and the following day finds him at the university.

An in-depth look at the auspicious production of D.O.A. A Rite of Passage, the documentary funded by High Times founder Tom Forcade in which guerrilla filming methods captured the first (and only) U.S. tour of the notorious Sex Pistols.

In 1945, when the Allies liberated the concentration camps, they discovered thousands of secretly created artworks. With unprecedented access to paintings, drawings, etchings and sculptures held in collections around the world, BECAUSE I WAS A PAINTER conducts a gripping and fascinating investigation into art that captures, reflects and inspires in difficult times.

“I ask my mother about her past feminist commitment, and why she made a child on her own. She doesn’t answer me. I want to pierce the mystery of my mother. I discover the women’s movement of the 1970s, an activist feminist cinema, and the woman filmmaker that I am changes. I meet and testify to the transmission of a memory of feminist struggles through collective cinematographic practices.” Anna Salzberg

A cartoon about children on a playground who at first did not want to play together, but united in order to resist an over-aged bully...

That spring, there was _____ in the sky of H-ville. What is _____? No one can tell. The sudden “unknown” caused absurd and strange phenomena. The real nightmare was not the natural disaster, but the man-made one. The regime used this to implement the “state of exception”. The system continued to operate. How much human value would be left? As Giorgio Agamben stated at the beginning of the pandemic, “The epidemic has caused to appear with clarity that the state of exception, to which governments have habituated us for some time, has truly become the normal condition.”

dual projection 16mm