American Teenagers(2022)

A Turkish woman in Brighton shares her visual diary. Witness her ups and downs, her intimacy and vulnerability. After revealing hers, the film invites you to confront your ‘tiny little things’. It presents a slice-of-life experience with an abstract flow and deals with one’s existence in this world. There is no escape from family and the things in your mind, even if you are thousands of miles away. The meaning changes constantly, and the camera becomes the extension of her mind. And somebody put that voice in her brain.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

In 2022, when the economic crisis in her native country was at its peak, she decided to visit her family there. She turned her short trip into a collage-like diary in which she reflects on her relationship with her homeland, which is in a state of protracted decay. The film is composed of spontaneous snapshots capturing the author's stay, interspersed with inserted captions serving as personal, often poetically formulated comments and observations. As a result, the film does not hide its strongly subjective perspective, but at the same time builds on it to make an important statement that shows the transformation of Lebanese society in everyday details such as the appearance of the city itself or in the intimate sphere of the author's family life.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.

On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.

A personal documentary questioning the ways in which family imposed narratives force us into roles that we spend our lives either rebelling against or conforming to.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Drawn from footage shot between 1949 and 1963, Jonas Mekas’s autobiographical diary film chronicles his early years in exile, capturing the struggle to build a new life in New York and his gradual discovery of a vibrant artistic community.

For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.

Aussie boys of Asian descent candidly discuss their status as a "minority within a minority".

A filmed diary which chronicles two visits to the Olivas, a family of Spanish beekeepers from Salamanca, at the time of the honey harvest, in August and September. Their work and their itinerant life are seen from a friend's point of view.