Pagrindiniu „Keturių raitelių“ taikiniu pirmoje filmo dalyje tapo multimilijonierius Artūras Tresleris (aktorius Michael‘as Caine‘as), iliuzionistų komandos pastangomis praradęs visus turtus. Antroje dalyje į žygį prieš „Keturis raitelius“ išsirengia Treslerio sūnus Volteris (aktorius Daniel‘is Radcliffe‘as) – jaunas technologijų genijus, pasiryžęs atiduoti viską, kad atkeršytų už savo tėvą. Jis įvilioja Denielį (akt. Jesse Eisenberg‘as), Meritą (Woody‘is Harrelson‘as), Džeką (Dave‘as Franco) ir Lulą (Lizzy Caplan) į gudriai paspęstus spąstus. „Keturi raiteliai“ privalo įrodyti savo nekaltumą ir atskleisti savo genialiojo priešininko kėslus. Vadovaujami Dilano (Mark Ruffalo), neprilygstamieji iliuzionistai vėl stoja į kovą.
Laimingai vedęs profesorius, žinomas dėl daugybės meilės romanų su studentais, tampa pagrindiniu įtariamuoju, kai jauna moteris dingsta be žinios.
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.
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.
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.
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.
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.
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?
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.
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.
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.
Melbhattan. Melbhattan is part homage, part pastiche of the opening sequence of Woody Allen's seminal 1979 film Manhattan. Melbhattan features more than sixty black and white tableaux of Melbourne each composed to mimic images in Allen's film.
A Sunday walk in a forest turns into a poetic journey on perception.
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.
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.
“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.