The Lighthouse: A Monument Valley 3 Story follows our protagonist, Sula, who finds herself shipwrecked on a mystical and mysterious island and in search of what they have once-lost, they embark on a journey of a lifetime to send out a signal out to the world.
The documentary showcases what remains of historic buildings and façades in downtown São Paulo, featuring discussions with architects, urban planners, historians, and sociologists. It explores the nation's colonial, imperial, and republican past, raising questions about the country's sense of historical belonging.
At age eighteen, Jayden Morton was sentenced to twelve years in prison for manslaughter after accidently shooting and killing an innocent child. Released shortly after his thirtieth birthday, Jayden wants two things, to be a father to his twelve-year old son, Noah, and to find a way to redeem himself. Juggling the pressures from the outside world. Jayden must confront his past, seek redemption and convince his son to avoid the same mistakes he once made before Noah makes the greatest mistake of his young life.
From her home in Blackhawk Island, Wisconsin, the poet Lorine Niedecker traded lively and impactful letters with numerous peers, most notably Louis Zukofsky and, later, Cid Corman. After a brief sojourn in New York, she lived alone in a one-room cabin for much of her adult life, often walking several miles into nearby Fort Atkinson to work as a copy editor at a dairy industry trade journal until failing eyesight reduced her to menial labour. Niedecker connected to the outside world by post, and among the small shelf of books she kept for herself in later years were several collections of letters, including those of the composer Franz Liszt and his lover, the scholar Marie Catherine Sophie, Comtesse d’Agoult.
Mourner’s Bench is from the 1947 solo by choreographer Talley Beatty. It refers to a prayer bench in churches where people go to grieve, and the inseparable relationship between hope and grief. Set at a Detroit bus stop, this work considers grief in relation to place and mobility. Conceived, directed, and edited by bree gant, in collaboration with choreographer Celia Benvenutti and cinematographer Devin Drake.
Spontaneous communication between two people transects geographic and psychological terrain indicating a co-habitation of the mind. Three picnickers reconfigure across time, forms hover at the fringes of consciousness, and bills go unpaid as the story spans remote coastlines and re-forested roadways.
Serving as a self-portrait, evidence illustrates an authentic insight on navigating mental health. Reciting ineffective personal mantras to missed calls from therapists, this collected “evidence” is a testament that everything is not okay. The film plays between abrupt imagery and measured moments, pushing the chaos mental health can bring.
The lovesick Jelena spends her afternoons strolling among the tombs and leafless trees at Père-Lachaise cemetery. As she sings Françoise Hardy’s “Tous les garçons et les filles”, one old grave depicting a couple draws her attention.