Bouche D'Oeil

Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

Those who knew iconic funnyman John Candy best share his story, in their own words, through never-before-seen archival footage, imagery, and interviews.

A documentary filmmaker interviews the now-famous Trevor Slattery from behind bars.

Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.

Michel is a young technician in the fledgling TV industry and is due for military service in two months at the time of the Algerian War. Juliette and Liliane are inseparable best friends, and aspiring actresses, who hang around outside the TV studio. Michel invites them in to watch, flirts with them both, and dates them separately and together. When Michel goes on a holiday to Corsica, just before he is drafted, the girls follow.

Monsieur Cinema, a hundred years old, lives alone in a large villa. His memories fade away, so he engages a young woman to tell him stories about all the movies ever made.

This visual album from Beyoncé reimagines the lessons of "The Lion King" (2019) for today's young kings and queens in search of their own crowns.

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.