Dadascope (1962)

Young and disenchanted Sam meets a mysterious and beautiful woman who's swimming in his building's pool one night. When she suddenly vanishes the next morning, Sam embarks on a surreal quest across Los Angeles to decode the secret behind her disappearance, leading him into the murkiest depths of mystery, scandal and conspiracy.

Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

Alone in her empty flat, from her window Anne observes the people passing by who nervously snatch up the personal belongings and pieces of furniture she has put out on the pavement. Her final gesture of taking a ring off her finger signals she is leaving her previous life in Holland behind. She goes to Ireland, where she chooses to lead a solitary, wandering existence, striding through the austere landscapes of Connemara. During her travels, she discovers a house that is home to a hermit, Martin.

An exploration of technologically developing nations and the effect the transition to Western-style modernization has had on them.

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

Nicolas Bannister, a rugged and solitary veteran living in a near-future Miami flooded by rising seas, is an expert in a dangerous occupation: he offers clients the chance to relive any memory they desire. His life changes when he meets a mysterious young woman named Mae. What begins as a simple matter of lost and found becomes a passionate love affair. But when a different client's memories implicate Mae in a series of violent crimes, Bannister must delve through the dark world of the past to uncover the truth about the woman he fell for.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Grindhouse combines Robert Rodriguez's Planet Terror, a horror comedy about a group of survivors who battle zombie-like creatures, and Quentin Tarantino's Death Proof, an action thriller about a murderous stuntman who kills young women with modified vehicles. It is presented as a double feature with fictitious exploitation trailers preceding each segment.