DocAlliance Films'te Ne İzlenir?

Bir adam, kıyamet sonrası dünyanın sorunlarına çözüm bulmak için bir deney yaparken geçmişiyle yüzleşir.

Sans Soleil (Güneşsiz) Fransız yönetmen Chris Marker'in 1983 yılında çektiği en önemli filmlerinden birisidir. Filmin ismi, Modest Mussorgsky'nin Güneşsiz adlı (Rusça: Без солнца, Bez Solntsa) şarkı çemberinden alınmıştır. Genel olarak insan hafızası ve hatırlama üzerine eğilir film. Japonya gündelik hayatına ve geçmişe odaklanır.

Kidlat, a Filipino jeepney driver, is fascinated by the idea of the American space programme and by Western society as a whole. When he moves to Paris, disillusionment sets in as his dreams are gradually shattered.

In 1962 Joris Ivens was invited to Chile for teaching and filmmaking. Together with students he made …A Valparaíso, one of his most poetic films. Contrasting the prestigious history of the seaport with the present the film sketches a portrait of the city, built on 42 hills, with its wealth and poverty, its daily life on the streets, the stairs, the rack railways and in the bars. Although the port has lost its importance, the rich past is still present in the impoverished city. The film echoes this ambiguous situation in its dialectical poetic style, interweaving the daily life reality (of 1963) with the history of the city and changing from black and white to colour, finally leaving us with hopeful perspective for the children who are playing on the stairs and hills of this beautiful town.

A faceless traveller takes a journey through the barren reaches of a Siberia caught between tradition and modernity, imparting his philosophical musings on its people and places, wildlife and culture.

A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography. An homage to Man Ray, dedicated to the beginning of the European avant-garde film within the surrealist movement.

Sokak satıcılarının melodileri eşliğinde İstanbul sokaklarını odağa alan bir belgesel. Poğaçacılar, bohçacılar, pazarcılar ve daha niceleri… Ben Geldim Gidiyorum, insan sesi ile “sokak pazarlamacılığı” arasındaki kopmaz bağı gözler önüne seriyor.

Outer Space, sinematografik bozukluğu sarsıcı, avant-garde sinemanın cehennemi yaşatışı. Hayal edilemez bir güzellikle yıkımı takip eden bir cehennemi akla getiriyor.

On a weekend in June 1983, in what was deemed a "country outing,“ an impressive number of artists from Berlin went to a small village in Schleswig-Holstein; their intention was to give the local residents a taste of Berlin’s avant-garde art. This event included presentations of dance, music, performance art, painting, land art and film. Back in Berlin the footage was manipulated in several ways to produce an “experimental examination.” —independent film and video database

The final installment in Ulrike Ottinger’s Berlin Trilogy (following TICKET OF NO RETURN and FREAK ORLANDO) casts Delphine Seyrig as the nefarious Fritz Lang supervillain Dr. Mabuse, here the head of a powerful media empire that seeks to create headlines by manufacturing (and then publicly destroying) its own celebrity: the wealthy, handsome playboy Dorian Gray.

Based on the remains of never-completed Argentine features from the archives of the film museum in Buenos Aires. The film is, as it were, a parallel film history: an essay like a cinematographic Frankenstein, that blows new life into images that once seemed unsuccessful and pointless.

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.

Bir hayalet hikayesini andıran film, otuzlu yaşlarındaki üç insanı uyurken, rüya görürken, kitap okurken ve Mexico City’deki bir apartman dairesinde misafir ağırlarken gözlemliyor.

A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.

Yıllardır görüşmeyen bir grup çocukluk arkadaşı, onları büyüten Nezihe'nin rahatsızlanması üzerine onun yanında olmak için İzmir'de yeniden bir araya gelir.

In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.