Pequenos Milagres

Uno a me, uno a te e uno a Raffaele

An American independent director comes to Italy to shoot a film. But inconveniences and obstacles stand in the way at every step. These are the years in which “Tangentopoli” rages and the golden rule of officials and collaborators is “one (bribe) to you, one to me, one to Raffaele”.

Chameleon

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

The Living End

Two HIV-positive young men — a semi-employed film critic and a hot hustler — tear off on a cross-country crime spree.

Nightshift

As night falls, the receptionist of a small hotel dutifully performs her routine tasks while strange lodgers descend upon the dark corners of the inn.

Last Chants for a Slow Dance

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

Frameup

Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.

Godard 1980

The famous French film director Jean-Luc Godard is interviewed by British film theorist Peter Wollen and the editor of Framework Don Ranveaud. He talks of the developments in his work, the change in style epitomized by his most recent film, Sauve Qui Peut, his work with Francis Ford Coppola and the relations between his previous films and the new one. He also discusses his radical method of scriptwriting and the critical responses to his latest film.

All the Vermeers in New York

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

Mod Fuck Explosion

Teenage London is trying to find meaning in the world, or a leather jacket of her own. Unaccepted by neither the Mods or the Asian biker gang, she tries to find her own path. Meanwhile, the two gangs maintain a mutual vendetta sure to erupt in a smorgasbord of violence.

30/30 Vision: Three Decades of Strand Releasing

Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.

Rembrandt Laughing

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

Chhattisgarh Sketches

A digital diary reflecting Jon Jost's experiences in India in 2003, when he was teaching filmmaking with digital cameras there. The material in this impressionistic film is adapted to the Indian way of life, with the cheerfulness of vibrant colors contrasting with impressions from one of India's poorest regions.

Walkerville

A fictional/documentary tone-poem, making for a kind of portrait of the town of Walkerville, Montana, and of the lead actor, Gary Winterholler, who had suffered a severe stroke several years earlier and was in a process of recuperation. There is no “story” or “narrative”, rather a kind of atmosphere and ambience in which a feeling for the town and its present and former inhabitants, and compassion for Gary, are generated by means more akin to music and poetry than narrative/story-telling.

Texas, Osijek

A Bohemian and a five-year-old take walks on the outskirts of Osijek.

Cruel, Usual, Necessary: The Passion of Silvio Narizzano

Perhaps at first glance, the filmography of Silvio Narizzano appears unremarkable. Thanks to his sleeper hit Georgy Girl (1966), he's known largely as a "one-hit wonder" director. Upon closer inspection, however, likely no other filmmaker used cinema as effectively to exorcise personal demons in ways both ugly and beautiful. And few directors' sensibilities were more gay, both overtly and covertly. Film historian Daniel Kremer is your tour guide through an obscure, perplexing body of work heretofore ignored and often unfairly shunned. Cruel, Usual, Necessary: The Passion of Silvio Narizzano is an essay documentary of discovery.

Casa do silencio

A lyrical oblique film.