Shorts

Let’s have a drink at the "Brasserie du Court" in partnership with the Clermont Ferrand Film Festival: now discussing "Cambodia 2099" with Director Davy Chou.

Let’s have a drink at the "Brasserie du Court" in partnership with the Clermont-Ferrand Film Festival: now discussing "Maniac" with Director Bo Mirosseni.

Let’s have a drink at the "Brasserie du Court" in partnership with the Clermont-Ferrand Film Festival: now discussing "Limbo Limbo Travel" with Directors Zsuzsanna Kreif and Borbala Zétényi.

Let’s have a drink at the "Brasserie du Court" in partnership with the Clermont Ferrand Film Festival: now discussing "The lobster’s dive" with Director Jenny Teng.

Let’s have a drink at the "Brasserie du Court" In partnership with Clermont Ferrand Film Festival: now discussing "Notre Dame des Hormones" with Director Bertrand Mandico.

Let’s have a drink at the "Brasserie du Court" in partnership with the Clermont Ferrand Film Festival: now discussing "Grandma, Vanya and the Goat" with Director Daria Yurkevich.

In partnership with Clermont Ferrand Film Festival, let’s have a drink at the "Brasserie du Court" : now discussing "The last of the Frenchmen" with Director Pierre-Emmanuel Urcun.

From its very beginning cinema has been exalted for its ability to reveal the secret life of objects, enabling us to access a hidden reality inaccessible to our senses. As the early film theorist Jean Epstein put it- “We say ‘red’, ‘soprano’, ‘sweet’, ‘cypress’ when there are only velocities, movements, vibrations”. Joanne Woolgar’s companion films Mallets and Gong Close Up put these velocities and vibrations centre stage, revealing both the aural and textual dimensions of a massive (…)

Shot in London in 16 mm and on a micro-budget, BEAT has cemented director Aneil Karia’s reputation as one of the most promising British filmmakers on the “short” circuit. The film, declared “one to watch” by Screen Daily, was picked up by most major film festivals in Britain and around the world. Essentially, BEAT is about the all-pervasive and inherent loneliness and chaos of life in big cities, encapsulated in Whishaw’s jerky yet graceful dance moves and violent and unpredictable (…)

Cette semaine, la choregraphie aussi effrayante qu’hypnotisante d’un homme en transe dans les rues du nord de Londres. Une danse qui évoque aussi bien le désespoir, l’euphorie, que la folie. Auto-produit et tourné en 16 mm, BEAT est poétique et violent, à l’image de la vie dans les grandes villes, et c’est un chef d’oeuvre. En 2013, BEAT a fait de son réalisateur, l’Irlando-Gallois (aux racines Ougandaises et Indiennes) Aneil Karia un des nouveaux venus dans le circuit du court les plus (…)