A unique experience that immerses us in the history of experimental 3D techniques. Programmed and presented by filmmaker Blake Williams, the spectator will combine a diversity of three-dimensional glasses (Anaglyph, Pulfrich, ChromaDepth, Diffraction) with 16mm works by Paul Sharits, Hy Hirsh, Ken Jacobs, Takashi Ito, Kerry Laitala, Jeff Scher and Jodie Mack. Filters that change from one eye to the other, optical polyrhythms and illusions of depth, all will be part of this unforgettable Cinema of the Spectacles‘ journey.

A unique experience that immerses us in the history of experimental 3D techniques. Programmed and presented by filmmaker Blake Williams, the spectator will combine a diversity of three-dimensional glasses (Anaglyph, Pulfrich, ChromaDepth, Diffraction) with 16mm works by Paul Sharits, Hy Hirsh, Ken Jacobs, Takashi Ito, Kerry Laitala, Jeff Scher and Jodie Mack. Filters that change from one eye to the other, optical polyrhythms and illusions of depth, all will be part of this unforgettable Cinema of the Spectacles‘ journey.

What could have happened – what should have happened – if two giants in film history, like Greta Garbo and Sergei Michajlovič Eisenstein, could have declared their love for each other?

What could have happened – what should have happened – if two giants in film history, like Greta Garbo and Sergei Michajlovič Eisenstein, could have declared their love for each other?

South Korean cinema is in the throes of a creative explosion where mavericks are encouraged and masters are venerated. But from where has this phenomenon emerged? What is the culture that has yielded this range of filmmakers? With The Nine Lives of Korean Cinema, French critic, writer and documentarian Hubert Niogret provides a broad overview but, nevertheless, an excellent entry point into this unique type of national cinema that still remains a mystery for many people. The product of a troubled social and political history, Korean cinema sports an identity that is unique in much modern film. Niogret's documentary tells of the country's cinematic history - the ups along with the downs - and gives further voice to the artists striving to express their concerns, fears and aspirations.

Why do people no longer see this type of stories nowadays? How can this notion be awakened? Which films should begin to feed back from the past and balance them with the current horror?

Why do people no longer see this type of stories nowadays? How can this notion be awakened? Which films should begin to feed back from the past and balance them with the current horror?

The story of those who see and make films, and the cinema that brings them together.