A journalist knows more about a grizzly murder than is good for her. All her evidence points toward a mysterious millionaire but no one will believe her.

This film illustrates Debussy's works "En bateau", "Arabesques", "Reflets dans l'eau" and "Arabesques en sol". As a visual counterpoint to the music it shows playful reflections, transparencies, and iridescence of water.

This film illustrates Debussy's works "En bateau", "Arabesques", "Reflets dans l'eau" and "Arabesques en sol". As a visual counterpoint to the music it shows playful reflections, transparencies, and iridescence of water.

In ‘Images de Tunisie’, Younes Ben Slimane returns to the locations where an archive film of the same name was originally shot by French colonialists in 1940s Tunisia. A minimal approach that Slimane – who is also trained as an architect – uses as a counter-narrative, dissolving the historical markers between past and present with his tactile images. The archive material, originally created for propaganda purposes, is intercut with Slimane’s own footage from the same sites of traditional architecture in Berber villages in southern Tunisia.

Contemplating the relationship between people and images drew me to the field of found footage. I attempted to shift this relationship from a visually ideological one to a freely tactile one. However, I was disappointed by how new digital media technologies reduced people to mere brains in a vat. Meanwhile, I noticed the found footage videos created by amateur authors on the Chinese Internet. Their creative editing seemed to break through visual limitations, making the images full of possibilities and allowing them to freely access and manipulate the images with editing software. This inspired me to create a found footage video, which records my creative process. I connected short film images, photos, and collage works from the past 10 years, trying to capture the unresolved intuition between thinking and action. The process brought me an unprecedented sense of freedom. This experiment is partly a self-directed psychoanalysis. By reconnecting these images, I attempt to piece together memory fragments and reconstruct my sense of time. I strive to be sincere, even if it seems incoherent. Perhaps communication isn’t always possible, but truth transcends language.

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This spectacularly brave (and nearly banned) 1979 pornographic experimental documentary, The Homosexual Century or Race d’Ep! in its original French title (which literally translates to “Breed of Faggots”) was made by the “father of queer theory,” Guy Hocquenghem, in collaboration with radical queer filmmaker and provocateur Lionel Soukaz. The Homosexual Century traces the history of modern homosexuality through the twentieth century, from early sexology and the nudes of Baron von Gloeden to gay liberation and cruising on the streets of Paris. Influenced by the groundbreaking work of Michel Foucault on the history of sexuality and reflecting the revolutionary queer activism of its day, The Homosexual Century is a shockingly frank, sex-filled experimental documentary about gay culture emerging from the shadows that traces the confluence between the development of photography in the 19th Century, and subsequent representations of homosexual desire. Photography, says the narrator, "created a new definition of ‘mankind" and gave the gay the means by which he could express his desires. In four dramatized chapters, covering the gay history of the 20th century – from Wilhelm von Gloeden’s late 19th-early-20th-century pastoral photographs of naked Sicilian boys to the sexual revolution of the 1960s, the timeless and highly relevant film pictures one century of oppression and empowerment as a reference work for its ability to stir public debate. (源自: TIDF 2024)