Daddy and the Muscle Academy

Guido Magnone designs cardboard boxes by hand for his parents' small business. A painter friend loves his brushwork and pushes him to attend the Beaux Arts. He takes an external competition, wins it, befriends the sculptors César and Féraud, surrealists, a handful of bohemians. He then discovered the mountain and quickly became one of the best climbers of his generation. He made prestigious conquests such as the west face of the Drus in the Alps, the first ascents of Fitz Roy in Patagonia with Lionel Terray or Makalu in the Himalayas... Magnone also participated in the creation of the UCPA and will be president of the Groupe de Haute Montagne from 1961 to 1965. From 1977, Guido returned to his first passion: sculpture, to devote himself fully to it around 1990. He began to exhibit again in 1996. In 2002, he exhibited his sculptures in Paris , Bourg-la-Reine, Aosta then in Etroubles in 2009.

Ron, the filmmaker’s father, has a brain injury that affects his ability to situate himself and retain memories. Upon realising that her father no longer recognises her, the director decides to turn her father’s notebooks into a film that plunges us into the complexities of memory and the brain, full of creativity, humour and tenderness.

A French television documentary about Pink Narcisus, one of the earliest openly gay art house movies from the early 70’s.

The worlds of a former neo-Nazi and the gay victim of his senseless hate crime attack collide by chance 25 years after the incident that dramatically shaped both of their lives. They proceed to embark on a journey of forgiveness that challenges both to grapple with their beliefs and fears, eventually leading to an improbable collaboration...and friendship.

It is late 2004, and 34-year-old Englishman Alistair Appleton is about to fly from London to the Brazilian coast, where he will drink ayahuasca for the first time. With wit, insight, and sensitivity, Alistair shares this experience with us, and chats with some fellow participants before and after the ayahuasca ceremonies. For the past few years, Alistair had been working as a television presenter. In 2000, he started making trips to the Centre for World Peace and Health in Scotland to learn how to meditate. When clinical psychologist Silvia Polivoy opened an ayahuasca healing center in Bahia in 2004, Alistair faced his fears and seized the opportunity to attend.

In 1969, Akbar Padamsee, one of the pioneers of Modern Indian painting, made a visionary 16mm film called Events in a Cloud Chamber. This was one of the only Indian experimental films ever made. The print is now lost and no copies exist. Over 40 years later, filmmaker Ashim Ahluwalia worked with Padamsee, now 89 years old, to remake the film.

An assessment of the 20th century's best known artist and his vast achievements through the insights and speculations of over a dozen participants. Filmed on the 100th anniversary of Picasso's birth at MoMA, Musée Picasso, Walker Art Center, Museu Picasso Barcelona. Featuring Henry Moore, Anthony Caro, David Hockney, Roy Lichtenstein, Robert Rosenblum, Clement Greenberg, Roland Penrose and others.

This film tells the story of Markus Anatol Weisse, who, astonishingly enough, became an artist, in spite of being only very partially sighted. Markus also builds strange machine-like beings and wishes that he himself were a biological robot, or cyborg.

In Search of Avery Willard iIlluminates the life and work of the groundbreaking, and mostly forgotten, artist Avery Willard — photographer, filmmaker, writer, publisher, leatherman, pornographer.

Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.