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Umai

The story begins with a casting for the film in which the main characters -Sarah and Magzhan - take part. In the orphanage, where hundreds of abandoned and lonely children are brought up, the film director approves Magzhan to play the leading role. The relationship between the main characters Sarah and Magzhan develop in the process of filming. Magzhan hopes that Sarah will adopt him after filming. Sara is torn between the choices she has to make. She wants to adopt Magzhan because she has grown to love him with all her heart. He awoke an extraordinary sense of motherhood in her. A few months after filming Sarah hurries to the orphanage to Magzhan…

Umai

7.0 2020
Meth Kelly

Meth Kelly explores how Australia’s colonial frontier narrative has been shaped by the imaginary heroic actions of the cult figure Ned Kelly. Through a video work projected in one of the shadowy tunnels of the ex-convict structures at Cockatoo Island, this work questions the legitimacy of Kelly’s hero status through a modern reinterpretation of his moral persona. Thornton skews the national narrative rooted in the romance of a Western, by transforming Kelly into a “meth head robbing a 7 Eleven”, placing him in a banal (sub)urban delinquent realm, far removed from cult status. Commissioned by the Biennale of Sydney.

Meth Kelly

NR 2020
Images of mounuments

The work reflects on the relationship between technology and us by constructing an advanced technological product from the future. This future product will replace people's worship and spiritual sustentation of the power of gods and Buddhas in religion with technology, turning the invisible into visible. This paper probes into the possibility and influence of the deification of technology in the future, and puts forward the solution of "love, nostalgia and nature" to relieve the pain caused by the excessive intervention of technology.

Images of mounuments

NR 2020
Pace non cerco, guerra non sopporto

The sight of a landscape is suddenly interrupted by the passing of a train entering the frame. It blurs the vision, covers the sounds of nature. Trains, as taught by Film History, represent a technological fascination, an industrial attraction, but are also the symbol of a progress careless towards the world and human beings (suffice to think of the founding myth of the Old West), aimed at commodities, at an economic rather than moral value. In the same way Ramiro, a debuting musician, is overwhelmed by the “productive machine” which seduces him, but also startles and scares him, because it sells off people and makes them all the same.

Pace non cerco, guerra non sopporto

NR 2020
Sad Lunch

A man tortured by the sins in his past becomes consumed by the mistakes of his future. The balance and stability he seeks in life seems out of reach and impossible to grasp - except for a very specific 30 minute part of his day. His lunch break. During this brief sabbatical he could see happiness off in the distance like an ocean liner in a sea of fog - only to disappear when reality summoned him back to the mundane. But even a “sad lunch” can offer nourishment to a broken man when he’s starving for hope.

Sad Lunch

6.0 2020
Red Hawthorn

Hawthorn, a quiet teenage boy with all the correlating tender attributes, lives in a villageon the West Coast of Scotland. The mournful landscapes and whistling wind are interrupted by the blasting dystopic industrial rhythms from Glasgow’s The Modern Institute. The score mirrors Hawthorn’s defeated ego in his desperate love for a returning friend, Magnolia. Sorrowful and deeply felt, Hawthorn’s lovesickness is Romanticist in colour. The wilderness is uncaring. The water laps softly against the muddy sand, oblivious. Fat seals continue to lounge on rocks out at sea.

Red Hawthorn

NR 2020
Des gens passent et j'en oublie

Gaspard spends his nights reading the Odyssey. When Polo, who claims to be his cousin, shows up with a backpack full of CVs, Gaspard's life is turned upside down. A few blocks away, Bob yells insults and je t'aime at Josianne's window to get her to open the door. Pierre-Henri Brahim spots him and thinks he's found a friend. Fred wanders the streets with his crazy leg. They all end up at Josianne's house, where they learn that she is to be evicted. On the bangs of society, each of the characters is a world unto himself. Extravagant and endearing, they are the protagonists of a social comedy that tackles the issue of social marginalization with caustic humor and a great deal of tenderness.

Des gens passent et j'en oublie

7.5 2020
Zombie 13

It is one minute before the screening of a zombie movie, but the friend who was supposed to be there has still not shown up. A man sits in the friend’s seat and does not leave, even when asked to show his ticket. How irrational can this man’s behavior get? The dramatic twist after the movie is touching though. Surprisingly, this episode depicts the sense of tension and excitement a person feels when doing something new. The events connected with the zombie movie in this film unfold an exciting and touching story. (LEE Hwajung)

Zombie 13

4.0 2020