MILFORD GRAVES FULL MANTIS is a portrait of renowned percussionist Milford Graves, exploring his kaleidoscopic creativity and relentless curiosity. "Milford Graves engages with our universe through contemplation and meditation where we coexist in a garden of timeless nature. Since the early 1960s he has struck a mythic figure in the lineage of New Thing/Free Jazz music and art. A theorist on rhythm defined by inherent emotional impulse (as opposed to a mechanism of strict repetition) he has consistently championed the idea that music is more than an art form to be mastered. In his world, sound is a life force to be in tune with, through regard and respect. With patience and a clear devotion to the beauty of the practice and performance of music, both spirit and earth-conscious, MILFORD GRAVES FULL MANTIS as directed by Jake Meginsky, and co-directed by Neil Young, both experimental musicians from Western Massachusetts, is a portrait of one of the most fascinating lights in the lineage of late 20th century music. It is a sonic-visual ode to the ineffable magic of inspired and gracious living." ---Thurston Moore Graves has performed internationally since 1964, both as a soloist and in ensembles with such legends as Albert Ayler, Giuseppi Logan and Sonny Sharrock. He is widely considered to be a founding pioneer of avant-garde jazz, and he remains one of the most influential living figures in the evolution of the form. The film draws the viewer through the artist's lush garden and ornate home, into the martial arts dojo in his backyard and the laboratory in his basement - all of this just blocks from where he grew up in the housing projects for South Jamaica, Queens. Graves tells stories of discovery, struggle and survival, ruminates on the essence of 'swing,' activates electronic stethoscopes in his basement lab to process the sound of his heart, and travels to Japan where he performs at a school for children with autism, igniting the student body into an ecstatic display of spontaneous collective energy. Oscillating from present to past and weaving intimate glimpses of the artist's complex cosmology with blistering performances from around the globe, MILFORD GRAVES FULL MANTIS is cinema full of fluidity, polyrhythm and intensity, embodying the essence of Graves' music itself. A result of nearly 15 years of filming, MILFORD GRAVES FULL MANTIS is Directed by Jake Meginsky, a long time student of Milford Graves. Co-Directed by Neil Young.d

A grieving man relocates his two teen daughters to a charming town and into their dream home. Quickly the dream becomes an inescapable nightmare.

Paris, October 1948. Nino, Gilles, Donald, Barbara and their friends are a new breed of spectators. They discover the cinema as art, they are moviegoers. They will try to realize their grand project: to found a film club. "My film first wants to be a testimony of young people who have lived for a passion. Cinema"

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.

讲述五十年代初期美国纽约的一群有抱负的年轻艺术家的人生经历。

塔维是个有钱而喜欢艺术的年轻人，走到哪里都随身带着自己的摄象机。他和狂热的朋友组建了一个俱乐部，规则很简单：每次聚会时，成员都必须带一盘记录最近一次性狂欢的录象带。但是这个初衷是游戏的玩意渐渐变成危险的困局……

中介所的詹智老人一日在某年轻女子门前检到一个弃婴，并收养了这个无家可归的孩子。詹智老人独身一人，对这个意外拾得的孩子格外疼爱，并取名“雪熙”。老人和邻居理发店的主人是至交，对方也有一个名叫“珍爱”的女儿。两人常常见面，并每每以自己的女儿为骄傲。转眼间，孩子们都长大成人。雪熙大学毕业后就职，并结识昌浩，与之相爱。雪熙的生母一直思念女儿，现在的丈夫事业成功，家境富足。于是，雪熙生母找到詹智老人，含泪请求领回女儿。但是，老人已和雪熙相依为命多年，早就把她视为己出，因而果断地拒绝了对方。雪熙生母潸潸离去。詹智老人应允雪熙和昌浩的婚事，但昌浩的父母却不同意无父无母的女子嫁入家门。詹智老人不忍雪熙整日为此愁眉苦脸，于是袒露其生母尚在人世。雪熙百感交集，含泪向老人保证自己决不会离开他。但善良的老人还是私下找到雪熙的生母，希望她可以帮助女儿达成结婚的心愿。婚礼如期举行，看着雪熙幸福的神情，老人默默离去。然而，雪熙再次向老人承诺，他是自己唯一的父亲。父女两人最终仍温暖地生活在一起

讨厌爵士的泰伊（池镐根 饰）和想自由演奏爵士的世宪（金真权 饰），因为学校课程被分到一组进行爵士合奏。就像在没有规定规则的情况下即兴演奏的爵士一样，他们想要摆脱怎样的过去？充满紧张感的爵士合奏即将拉开帷幕。

影片由唐·钱德尔自导自演，讲述一个与著名爵士音乐家、小号家迈尔斯·戴维斯有关的故事。

《夏日爵士》发生在1958年的纽波特爵士音乐节，由广告、时尚摄影师Bert Stern导演。 电影中混合了波动的水面、城中演奏者与音乐节上的观众，此外还包括1958年美洲杯帆船赛的镜头。除了主持人Willis Conover偶尔的报幕外，这部电影几乎没有对话与讲解。