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Kinet's Halloween Omnibus feature.
An investigation of doubles throughout the history of cinema.
Here, a group of women tell of how they came to arrive at an isolated ashram atop a mountain and what life there has been like both before and after the death of their guru.
Video by Gina Telaroli.
On a late-summer Sunday in 2011, a female director gathers a team of filmmakers, writers, musicians, artists, critics, and friends in an apartment to recreate a scene from Michael Curtiz's Depression-era drama The Cabin in the Cotton. Over plates of pasta and glasses of red wine, a round robin of non-professional actors take turns performing the same scene, again and again, In different permutations. With a freedom Influenced by pre--Code Hollywood, cameras, phones, and laptops are scattered around & set at almost every possible angle, documenting the action both in front of and behind the camera as it unfolds, from rehearsals to equipment adjustments to the banter between takes. An intimate. playful, and spontaneous look Into the collaborative cinematic process emerges. a snapshot of the filmmaker's perennial struggle to capture fleeting moments before the day (and light) slip away.
Three years ago, honeybees started to disappear. Today there are at least 33% fewer bees in the U.S., and with bees helping to pollinate one in every three bites that we eat, everyone is at risk. We set out to discover what was plaguing these hives and learn how non-commercial beekeepers keep healthy bees alive.
Telaroli's third film in the "Amuse-gueule" experimental film series, featuring John Carpenter's "Elvis" (made for TV in 1979, projected and “re-recorded” in an apartment in 2013, revised on and for a computer).
An attempt to emulate in video the experience of watching Minnelli’s film on film.
The footage in this movie was captured, without any intended purpose, between the years of 2008 and 2023 when the filmmaker visited her childhood home in Mentor, Ohio, a town that sits along the shores of the Great Lake Erie. Shot instinctively, haphazardly, gloriously with whatever devices were on hand, most notably multiple BlackBerry phones and a FUJIFILM X-T200, this kaleidoscopic film (perhaps) seeks to find out what Iris Murdoch meant when she wrote: “Time, like the sea, unties all knots.”