Moments in the life of a young Japanese filmmaker in Bosnia, charged with acoustic and visual poetry. Buoyant and essayistic entries in a process of self- and world-reassurance.

Cenotes—sources of water that in ancient Mayan civilization were said to connect the real world and the afterlife. The past and present of the people living in and around them intersect, and distant memories echo throughout immersive scenes of light and darkness.

A cowherd, sheep, and the wind, all have an equal presence in the village. Death and life are one and indivisible.

The experiment presents a cinematic poem to filmmaking and film itself. Directed by eleven filmmakers, all under the vision of Bela Tarr's 'film.factory', delving into what keeps us making films.

Miners in a Bosnian coal mine. The camera silently watches over the miners working tirelessly amidst endless noise and the flickering light of lanterns.

When Kacchi came back home for summer break from abroad, she came out to her family as a homosexual. Her mother and father couldn't take it and answered in negative. Though Kacchi had a depression for their reactions, she decided to face her family again throughout a filmmaking about the 'coming-out'.

Moments in the life of a young Japanese filmmaker in Bosnia, charged with acoustic and visual poetry. Buoyant and essayistic entries in a process of self- and world-reassurance.

セノーテはメキシコのユカタン半島に点在する洞窟泉。マヤ文明の時代、雨乞い儀式で生けにえが捧げられた神聖な場所。小田監督は自分で水中撮影を敢行する一方で周辺住民を取材し、マヤにルーツを持つ人々の集団的記憶と原風景の映像化に挑んだ。