"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb." 　　-- Harun Farocki 　　"Architects at work: a priori nothing lends itself better to cinema, nothing is more graphic than shots that alternate between the drawing and the built structure, between the two-dimensional plan and the three dimensional result. Yet this film, with its corporate-sounding title, shot over three months in a large Berlin-based firm abandons this clarity to instil a generalised doubt — not so much about the value of those it films as about its own critical viewpoint. Certainly, it is no trifling matter that in one of their on-going projects (a Virtual Reality Centre in Laval), the architects are trying to merge the building into the landscape: the invisibility justified by the end use of the building operates as a clue to the fact that, in architecture, during the design phase there is nothing to see, and that actual construction is less a matter of a change in scale than a sudden, demiurgic leap where there is no going back. In this group portrait, the creators appear both as master rhetoricians and children playing with materials and colours. Through their changing opinions, what Farocki is questioning is nothing less than the relationships between word and matter — which inevitably finds a mirror of cinema in the renewed mystery of architectural art: producing form from discourse." 　　-- Charlotte Garson, Cinema du Reel

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb." 　　-- Harun Farocki 　　"Architects at work: a priori nothing lends itself better to cinema, nothing is more graphic than shots that alternate between the drawing and the built structure, between the two-dimensional plan and the three dimensional result. Yet this film, with its corporate-sounding title, shot over three months in a large Berlin-based firm abandons this clarity to instil a generalised doubt — not so much about the value of those it films as about its own critical viewpoint. Certainly, it is no trifling matter that in one of their on-going projects (a Virtual Reality Centre in Laval), the architects are trying to merge the building into the landscape: the invisibility justified by the end use of the building operates as a clue to the fact that, in architecture, during the design phase there is nothing to see, and that actual construction is less a matter of a change in scale than a sudden, demiurgic leap where there is no going back. In this group portrait, the creators appear both as master rhetoricians and children playing with materials and colours. Through their changing opinions, what Farocki is questioning is nothing less than the relationships between word and matter — which inevitably finds a mirror of cinema in the renewed mystery of architectural art: producing form from discourse." 　　-- Charlotte Garson, Cinema du Reel

A struggling filmmaker is hired to document a festival he can't get into.

A struggling filmmaker is hired to document a festival he can't get into.

Commissioned by the Museum of Contemporary Art, Los Angeles on the occasion of their 2016 Gala event, 'Ed Ruscha: Buildings and Words' traces two recurring themes in the artist's 60-year oeuvre.

Three fiercely talented female homicide investigators work tirelessly to solve crimes while navigating the complicated demands of their personal lives.

The folks who populate the rundown hotel in this story have all come there from someplace which offered a modicum of hope. Gloria, who runs the place, earns most of her money as a stripper. She lives there with her two daughters and a son with an untreated brain tumor. Charlie, who is forever in and out of jail, is Gloria's sometime lover. A recent check-in is there hoping she can work up the courage to commit suicide, since her rich doctor husband ran off and left her. Another resident is Tim, who keeps company with his dog and his booze in equal measure. A schoolteacher comes by from time to time, hoping to do these people some good, but in choosing this lot to work with, she proves to be just as much of a loser as the rest of them.

A widower from Bankhead, Russell Savage, is diligently running to become the youngest Mayor in the history of Atlanta. His opponent is August King, the man who has raised Russell and his brother as his own since they were kids. But when the beautiful Avery Long joins the campaign, Russell finds himself fighting to sustain everything he's worked for including his campaign for Mayor, and his life.

Documentary about Dark City featuring interviews with director Alex Proyas, producer Andrew Mason, production designers Patrick Tatopoulos and George Liddle, costume designer Liz Keough, storyboard artist Peter Pound, director of photography Dariusz Wolski, actor Rufus Sewell, hair & makeup artist Leslie Vanderwalt and VFX creative director Peter Doyle.

Tommaso cultivates other dreams: finding a job, buying himself a scooter, living in Brindisi, a city dominated by the moloch of the oil chemical plant.