The Colour Of My Home

When old auntie Mirta succeeds in a lottery and wins a car, which she cannot use herself, different family members are suddenly there to 'be helpful' in favor to get the car after aunties' death, not to mention, they never have come before to help her. The funny rivalry between two parts of family, a foolish jealousy to the near living peasants' family, which had always non-selfishly been there for auntie, is a caricature of greasy human nature. This is a slight humor of the Soviet life details as well. But aunt Mirta isn't fool, and is still young in her heart until her last minute, that appears in her last will - to whom the car, the limousine in the color of St. John's night goes.

A feature film that follows Jason Logan, who creates unique inks for some of the world’s most celebrated artists by using highly unconventional materials, many of which he finds while foraging in locations ranging from the landfill beaches of Toronto’s Leslie Street Spit to the Mojave Desert. Among the more unusual materials he employs are weeds, rocks, and even rust. Logan’s fans range from the legendary Robert Crumb to New Yorker cartoonist Liana Finck and Japanese artist Koji Kakinuma.

A short film about a young Muslim-Hindu couple who elope with the help of their best friend. As day breaks and reality sets in, the newlyweds must come to terms with the consequences of their marriage.

Paintings and graphic works of Slovenian artist Spacal. An attempt to break into the humanitarianism, synthesis and rhythm of his arts.

Twenty stylised "cash machines" stand on the stage, each with a screen displaying a different colour. Each machine is loaded with a different cash amount. On each turn, the contestant selects a machine and the host starts it.

In an atmosphere grown suddenly impossible to breathe, a diver and a woman appear to be the only survivors. As their reserves of air run out, will they make love or war?

Like many Palestinian families, the Amers live surrounded by the infamous West Bank Wall where their daily lives are dominated by electrified fences, locks and a constant swarm of armed soldiers. Through director Carolina Rivas' sensitive lens, we discover the private world of all eight members of the family. As their dramas unfold, we catch a glimpse of their constant struggles and the small, endearing details that sustain them, including olive trees, two small donkeys and their many friendships. Constructed with a combination of verité scenes and re-enactments, this poignant and richly crafted film offers its audience a much needed opportunity to reflect on the effects of racial segregation, the meaning of borders and the absurdity of war

Cities and landscapes bear the desires of the residents. This restless fight for a fulfilled life in which we often stand in our own way. We long for love, recognition, freedom and a sense of home – but just as soon as we arrive somewhere, we long to return or to go somewhere else. It is this longing that drives us through life.

This afterword to India Song (Duras' celebrated 1975 film) is organized in several parts. It begins with an interview to Marguerite Duras by Dominique Noguez, an expert in her work; the interview links the film to the two movies whom it's related to: The Ravishment of Lol V. Stein and The Vice-Consul. Several themes are tackled: childhood, autobiographical traces, relationships between differents characters and different films and more. India Song's main actors — Delphine Seyrig and Michael Lonsdale, who played Anne-Marie Stretter and the French vice-consul — join the conversation and talk about their roles and their craft. Marguerite Duras then evokes her memories of the shooting with the composer Carlos D'Alessio and her camera operato Bruno Nuytten. The conversations are punctuated by clips of the film.

About a pair of childhood lovers who get together after experiencing a breakup from their previous relationships.

A short experimental-documentary film which in the form of a film journal examines the tensions in the transformations of the world around us. The broadly shot walls are the leitmotif of the film, still cracked versus the monochromely smooth and strikingly colourful new walls. The concrete (identifiable) transforms into the abstract (unidentifiable).

Teenager and his Chilean parents live in Rio de Janeiro, Brazil, in exile, after his brother is killed by the military government in Chile. Years later, still haunted by the past, he undergoes a crisis when he learns his cousin had been arrested in Santiago, and quarrels with his family when he decides to know his country and the details of his past.

Documentary about colour and how it use in cinema/

A real estate agent is drawn into a torrid - and sadomasochistic - relationship with a morose, stunningly beautiful Japanese photographer. The two cavort in a luxurious apartment owned by an elegant upper-crust Japanese lady, crossing paths with an infatuated policeman, a mysterious Korean woman, and an increasingly tangled web of violence, criss-crossing passions, and lurid, unchecked desires.

Kleur en Glorie Onzer Tropen, "Colour and Glory of our Tropics", is a travel documentary shot in 1938 by Alphons Hustinx showing the prewar Indonesia as it was then (a Dutch colony).

Memories weigh down on feelings. This is what we explore here with Olivier. When he returns home after an ordinary day at work, he recalls, via an event, the love affair he had in the past with Max.

Dans les ajoncs du Vardar": French boat patrol on the river Vardar during the First World War, setting up a defense post on an old bridge.