Immediately after the screening of CHANTILLY at the MBXA (Paris) on November 8, 1976, we began a new film project, continuing to explore the concomitance of several simultaneous images within the framework of the cinematographic image, but which, freed from the orthogonal grid of the previous film, would be able to move freely in space: they would collide.
Immediately after the screening of CHANTILLY at the MBXA (Paris) on November 8, 1976, we began a new film project, continuing to explore the concomitance of several simultaneous images within the framework of the cinematographic image, but which, freed from the orthogonal grid of the previous film, would be able to move freely in space: they would collide.
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with the leading lady.
In 1976, four working-class friends come of age in The Hamptons, on the South Shore of Long Island, New York, as clam diggers, as were their fathers and their grandfathers before them. They must cope with and learn to face the changing times in both their personal lives and their neighborhood.
In the aftermath of her tumultuous relationship with a charismatic and manipulative older man, Julie begins to untangle her fraught love for him in making her graduation film, sorting fact from his elaborately constructed fiction.
With a torrid past that haunts him, a movie theatre owner is hired to search for the only existing print of a film so notorious that its single screening caused the viewers to become homicidally insane.
After a high-profile firing, everything is at stake for 40-year-old Jenna: her career, her ticking biological clock, and her bank account. Her fashion career comeback hits a snag when she falls for a charming, much younger coworker — who happens to be her boss’s son. As sparks fly, Jenna must decide if she’ll risk it all on a secret romance with the one person who could destroy her comeback.
In 1976, a lower-middle-class teenager struggles to cope living with her neurotic family of nomads on the outskirts of Beverly Hills.
Davey Gordon, a New York City boxer at the end of his career, falls for dancer Gloria Price. However, their budding relationship is interrupted by Gloria's violent boss, Vincent Rapallo, who has eyes for Gloria. The two decide to skip town, but before they can, Vincent and his thugs abduct Gloria, and Davey is forced to search for her among the most squalid corners of the city, with his enemy hiding in the shadows.
40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.
In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
Just as Tessa's life begins to become unglued, nothing is what she thought it would be. Not her friends nor her family. The only person that she should be able to rely on is Hardin, who is furious when he discovers the massive secret that she's been keeping. Before Tessa makes the biggest decision of her life, everything changes because of revelations about her family.