A short study of the interior of amaryllis flowers, shot on 16mm film. The central pistol, the stamens and the anthers, which produce the yellow pollen, are set against the colour field of the petals. (Jayne Parker)

In a kaleidoscopic sequence, images search freely for stories that shape lives — faith, patriotism, anarchism, tourism, returns and arrivals, sketches of daily life and nature. Like a photo book, the film creates new images and relationships between shots, reassembling a journey of impressions where the outlines of the world oscillate. Filmed in Poland, Germany, Portugal, Greece and Brasil. Shot in 16 mm, in seven chapters. (DFFB)

In Island Flyer: A Postcard from the Isle of Wight, Rebecca Jane Arthur takes us on a journey to an island in the English Channel in pursuit of summertimes gone by.

The girls-only party scenes in The Vision Machine have both the ruddy look of overexposed home movies and the richly burnished texture of Renaissance paintings cracking under their veneer. A riff on Duchamp’s Anemic Cinema (Ahwesh inscribes the lyrics of the pop classic Wild Thing on a warped video version of a roto-relief ) and on Buñuel’s Viridiana (here the lowlifes invading the manor are women artists), The Vision Machine is an inspired depiction of girls dressing up and acting out, pleased as punch to have taken over the screen. (Amy Taubin)

Lertxundi’s first film since relocating to Spain from California in 2019 is a triptych composed of three independent and yet interrelated pieces — Teatrillo, Inner Outer Space and Under the Nothing Night. A new setting for the filmmaker but the same sun-drenched blue sky and sea. Like all of Lertxundi’s work, Inner Outer Space is a film about relationships — between characters, between characters and landscape, between image and sound — but also, and ultimately, a deconstruction of the production process that highlights materiality and artifice. Just like the blindfolded woman in the film who attempts to orientate herself in a new geography, Lertxundi is learning — through the making of a film — to reacquaint herself with the landscape of her native Basque Country. The concluding chapter — in which two young women perform a mysterious choreography to the projected images of waves — is an outburst of pure feeling. (Open City Documentary Festival)