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King of the Jews

"King of the Jews" is a film about fear and transcendence. Utilizing Hollywood movies, 1950's educational films, personal home movies and religious films spanning the history of cinema, the filmmaker depicts his childhood fear of Jesus Christ. These childhood recollections are a point of departure for larger issues, including the roots of Christian anti-Semitism and the need for forgiveness and healing.

The Smell of Burning Ants

"The Smell of Burning Ants" is a haunting account of the pains and trauma of growing up male. In a layered and non-didactic way, it details the process of emotional death many boys suffer as the are socialized to become men. The inner and outer cruelties that boys perpetrate and endure are evocatively presented. Rather than glorifying and romanticizing boyhood, this film opens up wounds to let the poisons out.

Les Accord D'Alba

"The discovery of KAWASE Noami's film changed my life. In the spring of 2002 when I cam to present my films to Alba, I have the opportunity to have a discussion with her for the magazine- La Lettre du Cinéma. Unfortunately my recorder didn't work; therefore I had to use my small DV. The magazine published the artical, but I kept the images; then I thought, I could attempt to do a film that shows my admirations for KAWASE." --Vincent Dieutre

Learning

The dreariness of a competition for apprentice hairdressers in Bratislava.

Mass

The mass of an old village priest.

Old Shatterhand's Visit

"Western Tourists" in Bratislava.

To Leave An Imprint

Portrait of a Folk Art Potter.

The Artistes

A look at the lives of circus artistes.

Pictures of the Old World

A masterful documentary providing a perceptive view of the autumn of human life, inspired by Martin Marencak's photographic portraits. Seemingly bizarre characters often hide a tragic destiny, struggle with poverty, selfishness, sickness or old age but at the same time to retain the ability to fight the world and themselves and live their lives intensely. One of the most significant works of Slovak cinematography, it was banned for 17 years due to ideological and esthetic reasons and was finally fully released in 1989.