Discover Movies

Imagine for a moment being in the shoes of a booger. It can't be an easy life...

Dopo aver trovato una scatola musicale, un ragazzino gira la manovella per scoprire la sorpresa. After finding a music box, a young boy turns the crank to discover the surprise.

A father and son find themselves in the forest in search of the Ayira - a mystical creature whose existence is yet to be confirmed. With their relationship already nearing its breaking point - will they be able to reconcile before it's too late?

Inhuman experiments give sight back to a boy born without eyes. But vision can be a terrifying thing to get used to. Overwhelmed by the horror in his home, he charges into the arms of a murderous kidnapper. Now his formerly distant father must embark on a journey to save him – and bring their family back together. A modern-day silent film, The Eyes in the Box is a story of pride, parenthood, and love, made in the style of German Expressionism.

Moreno Bueno is an artist whose track record has combined sound and visual experimentation around themes such as the body, movement and analogue processes. She has set herself the task of converting images projected through 16 mm into sounds by using photosensitive microphones. The resulting artwork is a kind of diary of Moreno Bueno’s stay in Toronto, which she produced using the colours and shapes found in her wanderings around the city. She also plays with double exposures, expired emulsions, colour filters and different methods for developing by hand, gradually modifying the images (via a random, open procedure) in a symphony of a city that truly sounds, by directly translating its projected images. It is an experiment that involved creating microphones that she herself describes as “photophonotransistors”. Rather than microphones, they are instruments that use images instead of strings or wind to create sound.

Overworked council worker Cwnt Jones purchases a personalised A.I assistant to help make his life beta.

A series of scenes mis-heard between the town and its surrounding landscape unfold, creating an odd dialogue that drifts between the two.

The author describes himself in a short film using archival material in a provocative and deliberately humorous manner.

Three students discuss an audiovisual project to be submitted for a review. It is a metacinematic follow-up to Uno mattina.

Set against a picturesque Scottish beach, a Deaf person writes a love letter to Scotland and to people looking for a place to belong, using poetry to explore their struggles of identity and connection to the country they were born in.

In 1939, after the end of the Civil War, and in the midst of a collective failure of Spanish society, a young Republican will seek revenge, thus starting a wheel of unstoppable violence. His initial cruelty will turn against him, and he will be relentlessly pursued by the Guardia Civil.

Go behind the bars at HMP Frankland, which houses the most sadistic criminals in Britain.

A girl and her father go snail fishing.

A young soldier tries to survive with his sister in a world devastated by war.

The dog park is a meeting place for four-legged friends and their owners, who sometimes can't stand each other any more than their furry companions. People of different origins and beliefs face each other. But this is not the right place for discussions. Or maybe it is?

The importance of working for equality, through sisterhood, under the gaze and experience of three women.

A compilation of pure visual poetry, a montage of daily observations, partly working with single frames. Each part is an impressionistic celebration of appearances of our world but also a play of thought. The title is inspired by a quote of Walter Benjamin.

Granny is disturbed by a strange noise coming from her attic. What will she do? investigate of course.

Alessandro is a frustrated writer that wants to carry on, but the past can't be ignored.

A short drama film.

Are you sure you want your wishes to come true? A wizard’s apprentice is overwhelmed by his burning desires.

Palau Blaugrana: 50 years of magic

A creative trans self-documentary video exploring themes of early transition and gender rebirth using themes of mythology and the sea.

A breath winds its way through the material, which inflates and deflates in the form of craters and scales. This beast conjures up medieval visions of fantastic creatures – the final shot features a huge muzzle whose emanating, muffled heartbeat makes us tremble with emotion.

The runways at Orly airport and the surrounding countryside. Planes and birds taking to the skies. Following some of the species that have found a home in these Anthropocene grasslands. Here, between the dimness and the haziness of distance, the lines between technology and nature, between the realm of the wild and that of human intervention, are blurred.

Working with performance artist Leonor Beutler, Christin Turner (who received her MFA from the University of Colorado Boulder) wades into the shamanistic rituals that coincide with our understanding of time as expressed in the natural world.

An empty house. Inside, four surveillance cameras showing different rooms. A woman in a winter coat enters the hallway, holding a large plate of cake. As if in a secret surveillance centre, we look at four monitors and watch the figures in black mourning clothes move from room to room. In the centre of it all is our main character, who tries in vain to escape the countless expressions of condolence. The traditional mourning rite as a social gauntlet. "Dein Beileid" was shot in two planned sequences with four cameras running in parallel. It is a play with the medium of film, an experiment with parallelism. With each viewing, the audience can focus their attention on new aspects and actively explore the plot and relationships. Depending on what we focus on, the film is sad, humorous, or in any case deeply atmospheric.

A group of forensic doctors begins the exhumation of a mass grave in Vilagarcía de Arousa. This is the story of those who seek and those who seek them.

A film that revolves around the following questions: ‘Why are we expected to identify with a “queerness” that we had no power in creating? How can we speak the language of queerness when our languages, terms, expressions are trapped within and abbreviated into an international queer (English) language? How are we pressured into partaking in the norms of acceptable “queerness”? What are the costs of not fitting into these norms, and how can we counter this regulatory and disciplinary function of queerness at our current historical moment?’