Don Cherry 18

Some fun in the sun.

A visual essay that highlights top-down shots from Wes Anderson's filmography.

An unnerving glimpse into the near future is experienced through Callum, a young drifter.

Film by Aleksandr Medvekin to a metonymic Chinese friend, advocating against Mao and the Ussuri River Skirmish.

Mounting of the film by Dmitry Frolov on the basis of documentary frames of performances of Russian ballet dancers and lifeless margins of the Russian outback. Symbolizes the slowly naked and dying Russian world.

Under the direction of a ruthless instructor, a talented young drummer begins to pursue perfection at any cost, even his humanity.

A photomontage telling the story of Jamie’s life from his birth to the moment his mother dies unexpectedly.

A haunting at a New England girl's school.

Another Worldy opens with "The Lucky Girls" dancing atop a New York City skyscraper to the music of an all-female band. Among the many other dancers whose performances Thornton appropriates, this troupe of young, professional female 1940s-era American dancers reappears throughout both versions of the film in seedy Algerian dives, Russian outposts and Parisian can-can establishments. A preternatural luck seems to take them everywhere in space and in time with infinite energy. Yet as their various world travels were most likely filmed on the same sound stage, they are like-wise emblems of a flimsy utopia. In this void, there is no sound, or rather, the original sound of the all-female band is replaced by a techno beat that uncannily seems to have belonged there all along, punctuating the regulated paroxysms of ultimate global unity-promised in the image but deferred through the never-resolving beat.

Older adults cannot believe the things younger people do, but they probably have forgotten they were the same way when they were younger.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.