One year after outwitting the FBI and winning the public’s adulation with their mind-bending spectacles, the Four Horsemen resurface only to find themselves face to face with a new enemy who enlists them to pull off their most dangerous heist yet.
Evan Birch is a family man and esteemed professor at a distinguished university. When a female student goes missing, police Detective Malloy has reason to be suspicious when crucial evidence makes Evan the prime suspect in her disappearance.
Carried by an immersive sound environment that plunges us in the reality and the perceptions of these resilient and inspiring people, this film questions our own blindness face to violence and suffering of our time — despite the overabundance of images that reach us — and highlights the urgency of lending an ear to hear these stories.
Bauji resists his daughter's request to let her marry the man she loves as the villagers incessantly shame him. However, his opinion changes after he meets him and he decides to change his viewpoint.
Working at the limits of what can easily be expressed, filmmaker Peter Mettler takes on the elusive subject of time, and once again turns his camera to filming the unfilmable. From the particle accelerator in Switzerland, where scientists seek to probe regions of time we cannot see, to lava flows in Hawaii which have overwhelmed all but one home on the south side of Big Island; from the disintegration of inner-city Detroit, to a Hindu funeral rite near the place of Buddha's enlightenment, Mettler explores our perception of time. He dares to dream the movie of the future while also immersing us in the wonder of the everyday. THE END OF TIME, at once personal, rigorous and visionary, Peter Mettler has crafted a film as compelling and magnificent as its subject.
A group of film students are methodically killed off by a mysterious slasher, but as the film plays out through their individual perspectives, we learn more about the darkly comedic truth behind the murders.
Filmmaker Theo Anthony offers a far-ranging look at the biases in how people see things, focusing on the recorded image.
A glimpse into a visual representation of memory; A Christmas-time series of meals, coffees, and movies, with friends, lovers, and housemates. Faced with the compounding of faces and places, each moment begins to collide with one another: voices are muddled, and faces are broken. How is memory created? How are they separated from one another?
A Sunday walk in a forest turns into a poetic journey on perception.
Perception explores the breach of experience that divides us all by glancing into the lives of three individuals: Clarissa, a young idealistic photographer who chooses to live as a homeless person on the streets of New York, supporting herself meal by meal by selling her photography from a blanket in Central Park; Ralph, a successful real estate salesman who struggles for balance against the cut-throat nature of his business; and Tobias, a perpetual student who gets fired a lot. Perception journeys through the same season of time from each character's point of view, detailing how presumption and mistaken intention leads to great misunderstanding. A moment, revisited from another point of view, takes new dimension--and the line between protagonist and antagonist blurs.
A dreamy autumn picnic goes awry when it receives an unexpected visitor.
A man is coming home after a long day outside. Something or someone is starting to follow his path, trying to reach him. But his extrasensorial perception begin to warn what's happening.
How can structures, which take up defined, rigid portions of space, make us feel transcendence? How can chapels turn into places of introspection? How can walls grant boundless freedom? Driven by intense childhood impressions, director Christoph Schaub visits extraordinary churches, both ancient and futuristic, and discovers works of art that take him up to the skies and all the way down to the bottom of the ocean. With the help of architects Peter Zumthor, Peter Märkli, and Álvaro Siza Vieira, artists James Turrell and Cristina Iglesias, and drummer Sergé “Jojo” Mayer, he tries to make sense of the world and decipher our spiritual experiences using the seemingly abstract concepts of light, time, rhythm, sound, and shape. The superb cinematography turns this contemplative search into a multi-sensory experience.
Wearing an old pair of sunglasses from the thrift shop, Sherry realises that she can read everybody’s minds… up to a point. She can see why they chose the clothes they wear and what insecurities they are covering up. It seems that almost everyone has a deep-rooted hatred of how they look and the sunglasses may be part of the antidote. When she meets her friend Caitlyn, for coffee, she realises her glasses could help her and others.
“Here are some Images” is an short film exploring the interplay between internal and external images, using hand-processed 16mm footage and musings on perception and memory.
Martin Haberstich thinks he witnessed a murder. When he finds out what really happened it’s too late. A slightly surrealistic murder mystery about perception and reality. A film that explores new territory, it’s film noir revisited, with an existential touch.
Alan Watts talks about our perception of the world, and how we derive metaphysics from it. Watts recorded this video in 1971 as a pilot for a public television series in the United States.
Borrowing from an anthropological study initiated through the University of California in 1969, The Taste of The Name is a fantasia on universality. As a parallel to the elusive “umami” and its gradual scientific acceptance as a primary taste, we consider what is perceivable, knowable, and namable. Through the blue spectrum of various hermetic artifices, we are fed fables of Jules Verne's Nautilus and resurface in a virtual tanning bed, turning over in a slippery navigation of language.
Asking how you tell what's real and what isn't sounds like an obvious question. But in this series of six programmes, James Burke shows that the more you think about it the harder it is to answer. After all, what have you got, apart from your five senses, to prove those senses are giving you the real thing?
