Propped up on his deathbed, a 17th century Spanish missionary named Father Kino (Enrique Rocha) looks back on his remarkable life and relives one of his greatest challenges: bringing the teachings of Christianity to California's native population while convincing the Spanish military to respect the Indians' traditions.

There is a cinema in town. Masses of film-eager moviegoers are queuing in front of it. The cinema screens slapstick comedies, westerns, horror films and even some arthouse erotica. But when the local audience has had enough of traditional films, the door is open to an alternative lineup.

Viennale-Trailer 2012 - 50 Years of Viennale Anniversary Trailer

Born from steel and glass Kino Kopf is created by two inventors. They are assembled by their mother, a nurturing artist, and their Father a greedy entrepreneur. Kino Kopf is the first of its kind a sentient humanoid VHS camera. They are given a life by their mother but presented to the world by their father. Kino Kopf is the next big sensation and spurs a technological revolution. They are soon forgotten and alone as new models surpass them. Kino Kopf is left alone to contemplate if they ever had a soul, as visions of an electric cowboy dance through their dreams.

Documentary on American film director Jim Jarmusch made for German television. featuring interviews with cast and crew from 𝘚𝘵𝘳𝘢𝘯𝘨𝘦𝘳 𝘛𝘩𝘢𝘯 𝘗𝘢𝘳𝘢𝘥𝘪𝘴𝘦 and 𝘗𝘦𝘳𝘮𝘢𝘯𝘦𝘯𝘵 𝘝𝘢𝘤𝘢𝘵𝘪𝘰𝘯.

Kinoautomat was the world's first interactive movie, conceived by Radúz Činčera for the Czechoslovak Pavilion at Expo '67 in Montreal. At nine points during the film the action stops, and a moderator appears on stage to ask the audience to choose between two scenes; following an audience vote, the chosen scene is played.

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

This documentary promoting the joys of life in a Soviet village centers on the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread.

Dziga Vertov-directed Soviet newsreel covering: Starving children / Requisitioning of valuables possessed by the Russian Orthodox Church / Fundraising flights in support of the hungry / Trial of the Socialist Revolutionaries.

A prequel to the Kino no Tabi series, Kino is being trained by her teacher. Kino is becoming confused with her real identity.

Dziga Vertov-directed Soviet newsreel made to commemorate the first anniversary of the death of Vladimir Ilich Lenin (21st January 1924 - 1925) drawn from 'The Final Journey', a Pravda feuilleton written on the occasion of Lenin's funeral by the man who had introduced Vertov to cinema, Mikhail Koltsov. Contains: First anniversary of Lenin's death: 1. Assassination attempt on Lenin and Soviet Russia's progress under his leadership / 2. Lenin's illness, death and funeral / 3. The year after Lenin's death

This was also the case in 1981 as a grassroots democratic initiative by the Kasseler Filmladen e.V. Changing the world with political, cultural cinema, making society more open, fairer and greener. Four decades later, life planning, commercialization, the digital revolution and the pandemic have radically changed cinema. In addition, a generational change is imminent.

Keisuke Kinoshita sits easily alongside Ozu, Kurosawa and Naruse as one of Japan’s most respected legends of cinema. Made to commemorate the centenary of Kinoshita’s birth, this biographical drama chronicles formative hardships and personal encounters to provide a rare glimpse into the life of one of Japan’s most acclaimed screen directors. Includes archival footage from 49 of the films he produced during his career at Shochiku.

Dziga Vertov-directed Soviet newsreel covering: Up the Eiffel Tower in Paris / Moscow / Auto race Petrograd – Moscow / Aspects of everyday Soviet life / Peasant from Jaroslavl' visiting Moscow / Ceremonial introduction of a newborn into a workers' collective

Watching his collection of cine films, a Soviet citizen and cineaste in Latvian Riga remembers his time as a soldier in the GDR. At the time, mutual military support within the Warsaw Pact guaranteed the defensive capabilities against attempted attacks from the imperialist west – always taking into account the lessons learned in World War Two.

kino lau: many bodies is a performance of live music and projections that aims to bridge the ancient and the contemporary, the tangible and the ethereal, creating a multisensory journey that resonates with diverse and modern audiences. This immersive experience is a harmonious convergence of two distinct artistic forms: magic lantern projections and ambient drone metal merged with traditional Hawaiian chants.

Dziga Vertov-directed Soviet newsreel covering: First anniversary of Lenin's death / Smycka of the city and the village: group of peasants visit Moscow / Lenin's effect on peasants and oppressed nations

In 1909, four fearless entrepreneurs and then-unknown Irish writer James Joyce met in Trieste, the main port of the Austro-Hungarian empire, where he convinced them to expand their cinema business and invest in the opening of Ireland's first full time cinema. The Cinema Volta is not a historical documentary about the opening of a landmark cinema, but a light, spirited and modern personal search for the spirit of the people involved.