Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".

An experimental journey through a year in the life of the director, using his always playing playlis...

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A Hollywood actor grows tired of making the same corporate movies, so he moves to Argentina to find ...

Sequence of five shots, each one with a particular color treatment, in which a man carrying a machin...

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of...

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Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly politica...

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Rosso Fiorentino's painting "The Deposition of the Cross" comes to life. The Christ is gradually rem...

This is a time when we learn afresh that nothing lasts forever and that the variability is an integr...