Dadascope

Stop-motion photography blends with extreme slow-motion in Clair's first and most dada film, composed of a series of zany, interconnected scenes. We witness a rooftop chess match between Marcel Duchamp and Man Ray, a hearse pulled by a camel (and chased by its pallbearers) and a dizzying roller coaster finale. A film of contradictions and agreements.

Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.

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

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

Nicolas Bannister, a rugged and solitary veteran living in a near-future Miami flooded by rising seas, is an expert in a dangerous occupation: he offers clients the chance to relive any memory they desire. His life changes when he meets a mysterious young woman named Mae. What begins as a simple matter of lost and found becomes a passionate love affair. But when a different client's memories implicate Mae in a series of violent crimes, Bannister must delve through the dark world of the past to uncover the truth about the woman he fell for.

Nothing is as it seems when a woman experiencing misgivings about her new boyfriend joins him on a road trip to meet his parents at their remote farm.

Grindhouse combines Robert Rodriguez's Planet Terror, a horror comedy about a group of survivors who battle zombie-like creatures, and Quentin Tarantino's Death Proof, an action thriller about a murderous stuntman who kills young women with modified vehicles. It is presented as a double feature with fictitious exploitation trailers preceding each segment.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Charlotte Gainsbourg agrees to play a witch condemned to be burned at the stake in the first film directed by Béatrice Dalle. But the chaotic production, technical problems, and psychotic breakdowns gradually plunge the shoot into a chaos of pure light.

A fisherman's son is offered the ultimate privilege to study at the Al-Azhar University in Cairo, the epicenter of power of Sunni Islam. Shortly after his arrival, the university’s highest ranking religious leader, the Grand Imam, dies and the young student becomes a pawn in a ruthless power struggle between Egypt's religious and political elite.

An ordinary man frustrated with the various flaws he sees in society begins to psychotically and violently lash out against them.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.