A high school girl encounters a rabbit like creature who sends her back in time.

A transitional film at the end of his first decade of filmmaking, James Benning’s Grand Opera introduces a degree of storytelling to his previously more formalist devices. Benning calls the film his “first attempt at writing my own kind of history” and, in a sense, it also serves to write himself into history, acutely measuring his place as a Midwestern experimental filmmaker, then based in Oklahoma, in relationship to the avant-garde scene situated in New York. The film thus features homages to the prominent experimental cinema of the time, including a spoof of Wavelength, as well as cameos from Michael Snow, Hollis Frampton and Yvonne Rainer. Woven with these sequences are other characteristic Benning gambits – a compilation of every house he ever lived in, a preoccupation with the history of Pi, and the looming threat that a building will explode.

The short documentary explores the transformation over the decades of the Stop Shopping Center in Bonfim, Porto, framing its history within the materialist critique proposed by Walter Benjamin in his Book of Passages.

A Documentary seeks the encounter between people, the collective memory of the city of Madrid.

Interviews made of the various actors and cast members that provide the knowledge and production skills and sets required to make the film a success.

A short documentary showing the making of the movie 'Lords of Dogtown'.

A Catholic priest is sent to investigate reports of two virgin conceptions. One is about to give birth to the child of God and the other is the child of the Devil and he must decide which one is good and which one is evil before Satan's followers can stop him.

Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.