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luís soares

Blog do escritor Luís Soares

Simon Leoza - Prophets

PROPHETS - SIMON LEOZA from Sebaztian on Vimeo.

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.


Treeline from Jordan Manley on Vimeo.

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

“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.

One-Minute Time Machine

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.

The End

"THE END". Short Film. from Fabrice Mathieu on Vimeo.

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!

Boy Saint

Boy Saint | Poem by Peter LaBerge | Film by Tom Speers from Motionpoems on Vimeo.

Boy Saint

for Eric

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.

From Issue 91 of Crazyhorse, Spring 2017

We Are The Womxn

Director - Ivar Wigan
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

Monday Mood

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 Along the Geostationary Orbit

A Year Along the Geostationary Orbit from Felix Dierich on Vimeo.

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.

Winner of the 2019 Vimeo Staff Pick Award at the Annecy International Animation Film Festival. More information on and

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.