Cast: Jules Dallaire-Noël Eric Tabah Annie Arsenault
Produced by Telescope Films
Directed by Sebaztian Cinematography: Antoine Ryan Executive producer: Samuel Caron Producer: Élise Lardinois & Samuel Caron Production coordinator Marjorie Gauvin 1st ac: Mahdi Saadane Key grip: Danik Gollain-Bartolini Production assistant: Gabriel Larouche-Thiffault & Natalia Duguay
Editor: Xavier Lévesque & Sebaztian VFX : William Albu Colourist: William Albu Sound Design: François Bélanger
Spécial thanks to Cineground, SLA Location, Christian Duguay, Maxyme G, Domaine de la Capucine & Eric Pontbriand.
Patagonia Films presents: Treeline. Follow a group of skiers, snowboarders, scientists and healers to the birch forests of Japan, the red cedars of British Columbia and the bristlecones of Nevada, as they explore an ancient story written in rings.
Directed by Jordan Manley
Producers: Laura Yale, Monika McClure
Executive Producers: Alex Lowther, Jimmy Hopper, Josh Nielsen
Cinematography, editing, principal sound design: Jordan Manley
Additional Cinematography: Scott Secco
Associate Producers: Garrett Grove, Lisa Ida, Soichiro Uchino, Mie Sawatari
Editorial Advisors: Daniel Irvine, Chad Manley
Motion Graphics: Daniel Irvine
Additional Sound Design and Mix: Jeff Yellen / Ridgeline Sound
Cast & Athletes
Taro Tamai Hidehiko Wajima Kazushi “Orange Man” Yamauchi Yuki Miyazaki Alex Yoder Leah Evans Carston Oliver Laura Yale Connie Millar Diane Delaney Michael Cohen Deb MacKillop Suzanne Simard Akihiko Tamaki Konami Tsukamoto
Still Photographer: Garrett Grove
Additional Audio Recordings: Travis Rummel / Felt Soul Media
Assistant Camera: Ryan Christiansen
Assistant Editor: Bill Hawley
Additional Footage: Nick Leboe
Japan Field Producer: Yuki Miyazaki
Translators: Yuki Miyazaki, Yuko Yoshikawa, Yosh Haggerty, Young-kil Jung, ￼Lisa Ida
“Affairs of the Art”: A Family Brought Together by Pigeons and Eyeball-Filled Jars | The New Yorker | Filmmakers Joanna Quinn and Les Mills tell the story of an extraordinary family whose interests become all-consuming—from pickling to bug collecting, no passion is off-limits.
Every time the beautiful Regina rejects his advances, James pushes a red button and tries again, all the while unaware of the reality and consequences of his actions. Directed by Devon Avery. Selected for the Sploid Short Film Festival, a celebration of the coolest short films and the filmmakers that make them.
In 2020, the world stood still... in the movies too. En 2020, le monde s'arrêta... dans les films aussi.
"The End" is an experimental narrative short film, in black & white and color, made only with movies gifs with a perfect loop, more than 500. "The End" is also a tribute to the cinema, from silent films to now.
"The End" est un court-métrage expérimental narratif, en noir et blanc et en couleurs, conçu uniquement avec des gifs de films, plus de 500, dont la boucle est parfaite. "The End" est également un hommage au cinéma, du muet à aujourd'hui.
Music by Ennio Morricone - "My Fault" from "My Name is Nobody".
Edited & Directed by Fabrice Mathieu
Thanks to TechNoir, Cinegraphiks, Cinemagraphs, and all the creators of the gifs used!
In the beginning, we were one blood. Then the body, stem of thorns, grew its disagreement from the inside out. Like all biblical stories, it begins with a simple thorn, a natural secret the body kept from itself. I open the sealed envelope: everything in the sky folded, gathered into one body. Shoulders, the tightness of my mouth. Wounded bird. Lightning fluttering between two boys who want to be in a basement in a town they dreamt up. Lightning in cities and towns I’ve never been to, never heard of. I am positive. I am not. I make a moon with sugar and a damp thumb, watch its unlicked body dissolve into memory. A couple of towns over I am born and reborn. I am not. Not positive until I say it. Until I taste it. Boys died and die in bodies like this and don’t ghost, except on voice messages their mothers play to keep alive. They dress to grieve in churches. Inside black moons. Blotted-out days. Separate from face, posthumous thorn. Body liquefaction. I dream about altar boys in ironed seersucker suits pecking each other like swallows when dared. Boys with whiskey-mark necks. Like a scream of darts found them in the sanctuary’s locked basement in the dark. One night, they drew it—the town they dreamt of, fences yellowed, clouds like the static on the tv. Their only light. Knowing any other light would wake one’s sleeping sister, her body in the corner of the room’s mouth. Faithful, moving only as God does. One night in a symphony of nights. And He likes us until he doesn’t. Like trees struck by lightning, we aren’t visible until we’re on fire. Everything depreciates like this once it’s been said. Unless it is overheard. Unless it is shot in flight.
Director - Ivar Wigan Produced by: EVERYBODYNEEDSUS Executive Producer: Maria Rubin and Cathleen Cher Line Producer: Sally Oh Production Manager: Dannah Gottlieb Director of photography: Jamie Korn Gaffer: Hayden Mason Key Grip: Bryce Milburn Swing: RJ Cassavitis Sound: Gabe Valduri Choreographer: Kelly Yvonne PAs: Chris Tevebaugh, Ozzie Bunbury, Jeremy Baiden Editor: Ruth Hegarty Grade: Luke Morrison
Special Thanks To: Queen Afua Kharisma, Shaeyonce & the dancers Brenda at Blue Flame Atlanta Jocelyn and Matthew at Afropunk Festival
The film was conceived loosely as a live action musical animation, reminiscent of the system used in music animation software such as Stephen Malinowski’s Music Animation Machine.
Domestic and pertinent objects, common in the still life genre, were sourced and used within a structure mostly defined by the music.
The music is the Toccata from the first part of the Toccata and Fugue in D Minor, by Johann Sebastian Bach, one of his most famous compositions and a startling and surprising piece of music. Often mired in controversy, the authorship of Bach himself was questioned by musicologists from the 1960’s onwards because of the piece’s unusual structure, not seen in music of that time. It is performed by Peter Hurford in the 1976 album, Bach: The Great Organ Works.
The film is an exploration on the nature of time, the relentless violence of entropy and creative energy and its relationship to music itself. The Toccata and Fugue in D Minor has a cinematic history going back to the silent film era, when orchestras played music to films. The piece became often used in the horror genre and famously as the opening to the 1970’s film Rollerball.
A year through the distant eyes of meteorological satellite Himawari-8 – a hypnotic stream of Earth's beauty, fragility and disasters. Animation of satellite irradiation scan measurements, scientific data by meteorological satellite Himawari-8 courtesy of JMA/BoM/NCI.
Timecodes for meteorological/astronomical events (approximate, list to be completed): March 9th 2016 Total Solar Eclipse: 4:44 June 2016 Kamchatka Wildfires: 7:26-8:02 (visible as large amounts of smoke emitted from a point in western Kamchatka, eventually filling a large ocean area) - also: June solstice/polar day north pole July 2016 Super Typhoon Nepartak: 8:37-8:49 Aug 2016 Typhoon Lionrock: 10:43-11:09 Sep 2016 Super Typhoon Meranti: 11:14-11:24 Dec 2016 December solstice/polar day south pole: from 13:25 (add more in the comments, if you like. Or send me a message. I will add appropriate ones to this list.)
Attribution note on the data, which the images in this film are based on: Satellite observations were originally processed by the Bureau of Meteorology from the geostationary meteorological satellite Himawari-8 operated by the Japan Meteorological Agency. Access to this dataset was provided by the National Computational Infrastructure (NCI), which is supported by the Australian Government.