Witness: Joplin Tornado

Weaving together dozens of professional and amateur archival sources, along with dramatic interviews with the people behind the cameras, Witness: Joplin Tornado reconstructs the deadliest tornado in modern times, through the eyes of those who lived through it. A group of strangers huddle together in a convenience store cooler, shrieking in terror as the tornado tears apart everything around them. A husband-and-wife stormchasing team find themselves caught in the teeth of the storm, then pressed into service when it finally passes. A young mother sobs as she surveys her daughter’s destroyed bedroom. Yet all the while they film, using their cameras to record both the harrowing experience of the storm itself and the shock of what confronted them after — homes destroyed, neighborhoods flattened, a city devastated. Witness: Joplin Tornado tells the story of that day and its aftermath entirely through the videos and voices of the survivors.

Henri Matisse

Documentary film about artist Henri Matisse

Hearts of Darkness: A Filmmaker's Apocalypse

A chronicle of the production problems — including bad weather, actors' health, war near the filming locations, and more — which plagued the filming of Apocalypse Now, increasing costs and nearly destroying the life and career of Francis Ford Coppola.

El Caballo Español; El Origen

Après le déluge

Bear Hunt

Presenter and comic Jacob Burley hosts Bear Hunt; a stand-up show in which he explores the existence and extinction of the brown bear in the British Isles.

Con Traje y Sin Zapatos

Strade perdute - Filmmaker 23

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.

Bajo el signo libertario

Bajo el signo libertario is a propaganda documentary, with the script and direction of Les (known for his articles in Solidaridad Obrera and the magazine Espectáculo) whose central theme is the reconstruction of the development of life in a libertarian community in the Aragonese town of Pina de Ebro.

Tío Jess

Two/2

Music scores are atomized and recompiled into instructions for visual edits and cues. Ties are uncovered between sight and sound.

In the Ocean, on Land

Panasonic PV-GS83 in a plastic bag thrown in the ocean.

A Staircase

Single frames vectorized and stitched before processing through an analog EAB.

Water Theater

White Rock Lake Water Theater in Dallas, Texas. Sculpture by Frances Bagley and Tom Orr. Video compiled from 35mm stills.

XYZ

Oil spills around Oak Cliff, Dallas.

The Sun

Compiled and animated from still images.

Dresden Oktober '89

The Future Is Rotten

A secret culture of foragers hunt the Matsutake, a coveted Japanese mushroom worth up to $1,000 a pound—although its true value lies underground as a brilliant networker and healer of ruined landscapes. The Matsutake might just be our last, best hope for an American forest system run amok.

Jugoslavija: Kako je ideologija pokretala naše kolektivno telo

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

Flora

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.