행위예술가로 유명한 부모님 밑에서 자라온 ‘애니 팽’(니콜 키드먼)과 ‘백스터 팽’(제이슨 베이트먼). 애니와 백스터는 어릴 때부터 각각 ‘아이 A’, ‘아이 B’로 행위예술에 참여하며 자라왔다. 배우가 된 애니, 작가가 된 백스터는 집을 떠나 각자의 삶을 살고 있지만 예술적으로 기괴한 부모님 덕에 누리게 된 독특한 유년시절의 그림자를 쉽게 떨칠 수가 없다. 여배우로서 하향세를 걷고 있는 애니와 첫 작품의 히트 이후 이렇다 할 차기작을 내놓지 못하는 백스터 남매는, 백스터의 병원 입원을 계기로 고향집으로 돌아오게 된다. 아버지인 ‘칼렙 팽’(크리스토퍼 월켄)과 엄마 ‘카미유 팽’(메리앤 프런켓)은 다시 뭉친 가족의 새로운 행위예술을 기획하지만 애니와 백스터는 또다시 아이 A와 아이 B로 돌아가지 않기 위해 부모님과 갈등을 빚는다. 그러던 어느 날, 여행을 떠난 칼렙과 카미유의 실종 사건이 벌어지고, 진짜 실종인지 아니면 또 다른 파격 퍼포먼스인지 알 수 없는 상황 속에서 애니와 백스터는 그렇게도 벗어나고 싶었던 부모님을 필사적으로 찾아야 하는 상황에 빠지게 되는데…

Conceptual-structural film by Branko Karabatić exploring media and television.

Set in the American Midwest, Perfect Lives is “about” bank robbery, cocktail lounges, geriatric love, adolescent elopement, the changing of the light at sundown, et al. One of the definitive text-sound compositions of the late 20th century, it has been called "the most influential music/theater/literary work of the 1980s".

Artist Katinka Simonse, alias Tinkebell, is a controversial, very mediagenic phenomenon. In her universe there is no distinction between life, art and activism; Tinkebell is her own work of art. Everything she encounters on her life path can become part of her story. Filmmaker Judith de Leeuw was given access to all images about Tinkebell, including her entire private archive. She thus constructed an archive film about how as a human being, living on the ruins of the past, you can be a character in your own story. What is the price you can afford if you continue to believe at any cost?

Druga linija aka The Other Line is a product of many years of research of neo-avant-garde cultural and art scene in Novi Sad, Serbia (late 60s and 70s), which has been marginalized until today. This artistic movement was directly connected not only with important art centers of the former Yugoslavia, but also with existing flows of world art during its brief and productive activities (7e Biennale de Paris, 19th Berlinale). The cultural and artistic emancipation of that time had implied individual freedom of expression and strong reaction to established boundaries. This avant-garde movement had become threat to communist establishment, the authors' work were sabotaged, the films were sealed off, five artists were taken to trial, two were sent in prison. How is it that the retrograde mechanism of shutting down and removing the most creative and representative progressive impulses of our surrounding is still so current to this day?

Conceptual visual artist Ján Mančuška died in 2011. However, in his short 39 years of existence, he managed to create a number of remarkable works, many of which have been exhibited in renowned galleries around the world – including the Centre Pompidou in Paris and MoMA in New York. In his homeland, however, his work reflecting everyday life, social reality or the meaning of language has never achieved comparable fame. Together with the children of an artist who was not afraid to confront the public with the question of the meaning of art, the director embarks on a journey that aims not only to get closer to Mančuška, but also to reveal him in hitherto unrecognised shades, thus filling in the gaps that are increasingly appearing in the context of the fading memory of his personality.

From an inverted position, high above the floor, the camera records Nauman’s trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or primitive dance rituals. However, Nauman is not participating in a social rite or communal ritual—he is completely individualized. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice.

‘Empath – The Ultimate Edition’ is the definitive version of Devin Townsend’s acclaimed 2019 album Empath. Featuring the original album & bonus disc, it also includes 2 Blu-Ray discs, the first of which contains a brand new 5.1 surround sound mix by Devin, as well as visuals for each track on the main album, plus a visualizer for the stereo version of the album. The second blu-ray disc contains ‘Acoustically Inclined – Live in Leeds’, a live show filmed during the April 2019 acoustic tour, as well as the Empath Documentary, ‘Genesis’ 5.1 mixing lesson, acoustic gear tour, a full Empath album commentary, and a video for the bonus track ‘King’. This is all contained within a hardback artbook with expanded artwork and photos, as well as new liner notes by Dave Everley.

The epic life of a world-class artist, jammed into six minutes.

Bas Jan Ader hangs from the branch of a tall tree, until he loses his grip and falls into a river below.

One of a series of ‘falls’ by Bas Jan Ader that he recorded on film, this work was filmed in West Kapelle, Holland in 1970.

How would a found footage film look if the footage was never found? This conceptual art experiment questions the very nature of film and cinema while serving as an ironic tribute to the found footage horror pop culture. The found footage format provides the narrative justification for such a film to exist: the non-existence exists because the footage existed yet it was lost and never found.

Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.

In an ironic reference to body art, process art and performance, Baldessari challenges definitions of the content and execution of art-making. Performing with deadpan precision, he moves his hands, arms and entire body in studied, minute motions, intoning the phrase "I am making art" with each gesture. Each articulation of the phrase is given a different emphasis and nuance, as if art were being created from moment to moment. This index of body movements is ironically offset by the repetitive monotony of the exercise.

This short film is part of a mixed media artwork of the same name, which also included postcards of Ader crying, sent to friends of his, with the title of the work as a caption. The film was initially ten minutes long, and included Ader rubbing his eyes to produce the tears, but was cut down to three and a half minutes. This shorter version captures Ader at his most anguished. His face is framed closely. There is no introduction or conclusion, no reason given and no relief from the anguish that is presented.