From 2019 to 2022, director Sarah Vos followed Rein Wolfs, the new director of the Stedelijk in Amsterdam, and his team as they attempt to resolve the lack of gender diversity of the museum, in which 90% of the works of art of the vast collection had been made by white men. To correct this imbalance, the museum allocated 50% of its budget to buy works by non-Western artists and diversified its hiring practices. The film documents meetings in which issues such as racial, ethnic and gender representation are addressed, as well as the adoption of appropriate language: should “sex worker” replace “prostitute” in certain titles? They conduct research in the archives of art by women artists, often not even catalogued, and work to rearrange the collection along a new thematic path to contextualize the cultural, historical and religious circumstances in which the works ware created. White Balls on Walls shows the successes and failures of this difficult process. We thank Pordenone Docs Fest for their collaboration. 　　源自：https://www.schermodellarte.org/en/film/white-balls-on-walls/

An Indonesian fashion designer studying in England finds her career compromised by an intoxicating love affair that challenges her dreams and values.

Gerry's need for an identity pushes her to join the massive multi-level marketing company, Kismetta, opening her up to a world of chaos that succumbs her to her own delusional reality.

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

Raia, a famous writer struggling with writer's block, travels to New York to get inspired. There, she meets River and becomes entangled in a love story haunted by the past.

Raia, a famous writer struggling with writer's block, travels to New York to get inspired. There, she meets River and becomes entangled in a love story haunted by the past.

Dissatisfied with life at home, a young girl travels through other residences in her suburban neighborhood. She does what all of us would like to do: experience the domestic stories being played out by our neighbors. This tale is a voyeurist's paradise.

A young runaway rejects society's condemnation and dares to fulfill his dreams. France, 1930s. 14-year-old orphan Yves Tréguier sees the world through the bars of "educational homes" where he is raised in conditions worthy of a penal colony, and dreams of a dramatic escape across the ocean to New York.

A young runaway rejects society's condemnation and dares to fulfill his dreams. France, 1930s. 14-year-old orphan Yves Tréguier sees the world through the bars of "educational homes" where he is raised in conditions worthy of a penal colony, and dreams of a dramatic escape across the ocean to New York.

Making of documentary for the 2006 horror film 'Driftwood'.