The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, DAYS, will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai’s filmography, DAYS is a work of longing, constructed with the director’s customary brilliance at visual composition and shot through with profound empathy. With the unanimous approval of critics and the public, Days won the prestigious Teddy Award at the Berlin Film Festival 2020, an honor that certifies the best film with a LGBT background.

In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.

After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother’s childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly’s age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls’ eerie similarities yield revelations that merge events of the past with those of the present.
Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm.
A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.

An exiled filmmaker returns to Chile, contemplating fascism and eternity. 
Winner of the Best Documentary award at the Cannes Film Festival, master filmmaker Patricio Guzmán’s The Cordillera of Dreams completes his trilogy (with Nostalgia for the Light and The Pearl Button) investigating the relationship between historical memory, political trauma, and geography in his native country of Chile. It centers on the imposing landscape of the Andes that run the length of the country’s Eastern border. At once protective and isolating, magisterial and indifferent, the Cordillera serves as an enigmatic focal point around which Guzmán contemplates the enduring legacy of the 1973 military coup d’état.

In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.