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Director: Kevin Glynn.
Cairdeas (friendship) looks at the lives of two friends, easy in each other's company, who meet every day to play chess in their local pub. These men are still boys in their own minds, continuing a game that repeats every day. In fact, they hardly need to speak to each other.
Director: Manuel Camacho.
Bea is an immature 16 year old teenager who lives with her mother in a suburb of a large city. Bea just enjoys life and she has fun with her best friend Sandra. No matter what happens around her. But one day will appear a 7 year old mysterious girl called Candela. Thereafter Bea's life will change, beginning a process of maturity, while a strong relationship between the two states. But, who is Candela?
Director: Aitken Pearson.
The 'Sacred Hoop' of the Lakota Sioux with discussions from powerful and respected contributors on Indian Reservations in South Dakota.
Director: AYDIN EREL.
The golden age of aviation coincided with the Great Depression. Although the depression had tremendously negative effect on global economy, two fearless American aviators emerged to take back the long distance record from France. The pilot Russell Norton Boardman was once a cowboy, motorcyclist and a stunt pilot for Hollywood movies and his companion co-pilot John Lewis Polando was an aircraft mechanic with more than 10 years of aeronautical experience; together they found a way to fulfil a lifelong dream. Their Bellanca brand monoplane called ”Cape Cod” was literally a flying bomb with the take-off weight consumed two-thirds fuel it trundled down Floyd Bennett, NY airfield in the early morning of July 28, 1931. Boardman and Polando loaded 16 copies of the New York Times on board. These were to be parachuted over various cities as a mean of communicating with the world. They had never flown outside the United States before. Their objective was to fly from New York to Istanbul. It was to be the longest distance ever flown in history. They were unreported from land or sea for two nights and a day. What they lacked in equipment such as battery, radio, parachutes or navigation lights was compensated with plenty of determination and steely courage.
Director: AYDIN EREL.
On the morning of July 28th, 1931, two courageous aviators embark on a voyage that others had said was impossible. Unheard from for 40 hours on their first flight outside the United States, they had no radio, parachutes or navigational lights and used newspapers to communicate with the world below. In the end, their rock-steady determination and steely courage was rewarded with the coveted distance record from New York to Istanbul.
Director: Aydin Erel.
The golden age of aviation coincided with the Great Depression. Although the depression had tremendously negative effect on global economy, two fearless American aviators emerged to take back the long distance record from France. The pilot Russell Boardman was once a cowboy, motorcyclist and a stunt pilot for Hollywood movies. The co-pilot John Polando was an aircraft mechanic with more than 10 years of aeronautical experience; together they found a way to fulfill a lifelong dream.Their Bellanca monoplane” Cape Cod” was literally a flying bomb with the take-off weight consumed two-thirds fuel it trundled down Floyd Bennett airfield in the early morning of July 28, 1931. Boardman and Polando loaded 16 copies of the New York Times on board. These were to be parachuted over various cities as a mean of communicating with the world. They had never flown outside the United States before. Their objective was to fly from New York to Istanbul. It was to be the longest distance ever flown in history. They were unreported from land or sea for two nights and a day. What they lacked in equipment such as radio, parachutes or navigation light was compensated with plenty of determination, resolve and steely courage.
Director: Amartya Bhattacharyya.
“Living and ceasing to live are two imaginary solutions; existence is elsewhere” – Andre Breton’s non-deterministic approach towards existentialism in The first Surreal Manifesto is brought out through a fiction, which we might categorize into a new genre – Existential Psychodrama !
Capital I is a fictitious character having it’s root in reality. There was an old house which was locked from inside with all windows closed, and when the police broke open the door, they found no one, neither any living person, nor a dead body. They only found few papers lying, with some abstract phrases and pictures with the signature below reading ‘Capital I’. Police found the case unworthy of further investigations, as it doesn’t affect anyone. They close the case.
But media spreads the masala news about the mysterious character and creates a buzz in the town. A young girl, pursuing MSC Psychology gets involved with her old Physics professor to research about Capital I. They research on the name, the phrases and the pictures and wracks their brain through a lot of intellectual thoughts. They eventually starts transforming themselves psychologically. The girl, who wasn’t satisfied with her submissive boyfriend living in Delhi, gets into a state of deep trance and starts hallucinating. Under extreme stress of the research, she loses her conscious control. The professor, also into a trance, couldn’t break away, and the film suggestively ventures into the inevitable.
The film breaks away from realistic continuity and ventures into the surreal sphere. Scenes move randomly, just like a wandering mind having it’s root in reality. The film ends with an abstract culmination. Existence meanders through reality and imagination and ventures into a time-independent eternity. Moments tear apart and the debris of thoughts are periodically washed out, through the menstrual cycle of our minds. And the mind gets ready, yet again, for a new conception.
Director: Peter Hastie.
A lone soul looks for pity in the night.
Text from an anonymous blog.
Director: Anna Polibina-Polansky.
The movie is entirely dedicated to the late period of the life of Joseph Brodsky and to his "venetian" days. Fantasies are totally fed by the real facts from the biography of the poet.
Director: Simon Welch.
In the "demi-monde" of night fishing, anglers on a French beach cast their lines. The camera follows their night-long toiling in obscurity, the contrast provided by the limited light sources resembling a scene from a baroque painting. Thus, a relatively ordinary activity takes on an otherworldly aspect, becoming an allegory for contemporary existence as well as for artistic production itself. For me, the situation evokes Miltonian-style scenarios of humans and rebel angels cast out of paradise and the film plays on Biblical fishing-related allusions (several of the apostles were said to be fisherman, and were described as ‘‘Fishers of men’’ and Christ was symbolized by a fish). Therefore, on a symbolic level, in the film the fishermen produce a ‘‘divine’’ signifier (i.e. the fish) which is subsequently disposed of, presumably leaving them to cast around for alternative significations.
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