Interweaving stonework and filmmaking, Beavers evokes memory through hammer strokes and chisel sounds that shape both image and rhythm. In this dialogue of repetition and variation, the film carves out a space where emptiness itself gains form, allowing vision beyond sight.

Filmed in Rome in the 1980s, the work draws on Borromini’s Baroque architecture and Il Sassetta’s St. Martin and the Beggar. Beavers contrasts winter’s subdued light with the verdant growth of spring, constructing a precise montage in which image and sound form a poetic dialogue.

A newly commissioned film by Alchemy artists in residence Luke Fowler and Corin Sworn responding to the legacies of textile designers Bernat and Margaret Klein and their Scottish Borders home.

A film interpretation of the poem 'The Leaden Echo and the Golden Echo' by Gerard Manley Hopkins. Margaret Tait speaks the poem throughout the film.

Again a proof of Tait's genius for portraiture, and a film about the notion of portraiture itself and the investure of love in the seen portrait. What is film for? Why is it different from still photography, where it comes to seeing its subject? What can it tell us about someone? How somebody moves. How somebody is still. Her mother sits in a landscape, keeping time to a tune with her hand. Detail is how to know someone. How she smokes. How she smiles wryly, or looks away. A close-up of her mother's hands and the delicacy of them taking the wrapper off a very sticky sweet tells us everything we can know about this woman, and the care and the necessary distance, both, with which we observe those we love. A long-shot of her mother, from behind, almost running almost dancing along a rural road beneath a greyed-out rainbow is, in that miraculous Tait way, so placed, so unquaint and so natural, as to leave its viewer renewed and knowing again what it is, simply to be alive.

Évocation de la vie du producteur musical Patrick Cowley avec pour toile de fond le charme postindustriel de South of Market, un quartier gentrifié de San Francisco autrefois célèbre pour ses discothèques et ses bars gays, comme une sorte de quête pour retrouver l’énergie de Cowley qui subsisterait encore en ces lieux.

On impulse, a young woman drives from Seoul to see her best friend, but also meets up with her older professor, and then a former lover. Drinks ensue, and surprises are revealed for all four characters. Hong packs a lot into a 31 minute film.

一群逃离家庭来到丛林中寻找灵魂树的追寻者们，晚上他们唱起了一首歌，关于纯洁的爱和追求幸福的歌。这是一部实验电影，导演邀请了他的朋友Pimpaka Towira白天拍摄爱情故事，晚上则拍摄这首歌。

A man named Jo Hyuk-Rae stands dangerously on the ledge of the Han River Bridge. His actions are being captured by CCTV cameras. The CCTV images then captures his downfall and the people around him.

A vibrantly kinetic portrait of New York's Times Square, shot through technicoloured filters, by Tomonari Nishikawa

山手線是日本最繁忙的鐵路路線之一，本片拍攝當時行經29個車站，在東京市中心環狀運行。片中以東京站為起點，惠比壽站為終點，順時針記錄沿途十個車站的月台風景。在攝影機內部操作的視覺效果，結合多層次音軌，既增強場域的實感，也突顯了記錄聲音和影像的工具本身。

An elegy to time and life, condensing Terence Davies' profoundly humane poetics into little more than one minute, enveloping the viewer in an atmosphere of light and (Davies' own) words.

1986 film by Raymond Depardon

Jocelyne Saab, a young Lebanese journalist and director, interviews the director and the film crew while filming Nahla in Beirut.

Portrait of a woman, Jocelyne Khoueiry, who, in 1976 during the Lebanese civil war, was the muse of the Phalangist militia in Beirut. Fifteen years later, stricken with remorse, she became a nun and founded a religious order.

Portrait of a French mercenary working in Libya, hired by the Phalange to train the militias. War leaves its traces; and for some, who see death as part of the job, it’s a vocation.