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.

A man ventures out into the streets of a pandemic-ridden London.

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.

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.

A documentary about vivid punk and alternative rock scene of Subotica, the northernmost Serbian city, through the periods of communism, tyranny of the 1990s regime, and economic transition at the beginning of XXI century. Seen through the eyes of its witnesses, these musicians and creative artists deliberately refused the imposed way of behavior, hence staying "invisible" to everyday people.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

A 2004 documentary on thirty years of alternative rock 'n roll in NYC.Documenting the history from the genuine authenticity of No Wave to the current generation of would be icons and true innovators seeing to represent New York City in the 21st century

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

Thanks to his myriad film roles, Lon Chaney is known as “the man of a thousand faces,” and you could say that the early horror era never beheld a figure more intriguing. Yet because of his numerous transformations, his face never became as iconic as that of, say, Boris Karloff. Accompanied by a soundtrack from Bernhard Lang, this “re-imagination of shots” taken from Chaney´s forty-six surviving films offers a beguiling excursion into the history of film. The director reveals surprising associations, while highlighting the enduring magic of works which are now more or less forgotten.

A video about Neo-Nazis originating in Sweden provides the starting point of an investigation of extremists' networks in Europe, Russia, and North America. Their propaganda is a message of hatred, war, and segregation.

The documentary tells the story of Uschi, a farmer living free and recluded in the bavarian alps. Shot in epic black and white pictures, Still follows Uschi's life over a ten year period. From an untroubled summer of making cheese through pregnancy and the uncertain future of the parental farm, Matti Bauer portrays Uschi's struggle to keep alive the dream of a way of life that has become rather untypical in this day and age.

Fifteen images of a camera running in a park and in obscurity searching the space of light through distorsion and the sensory of rapid motion.