[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"title-movie-1626580-en-US":3},{"detail":4,"match":242,"insight":243,"providers":244,"providerLink":6,"trailer":6},{"adult":5,"backdrop_path":6,"belongs_to_collection":6,"budget":7,"genres":8,"homepage":12,"id":13,"imdb_id":6,"origin_country":14,"original_language":16,"original_title":17,"overview":18,"popularity":19,"poster_path":20,"production_companies":21,"production_countries":22,"release_date":23,"revenue":24,"runtime":25,"softcore":5,"spoken_languages":26,"status":27,"tagline":28,"title":17,"video":5,"vote_average":24,"vote_count":24,"credits":29,"similar":54,"watch\u002Fproviders":238,"videos":240},false,null,40,[9],{"id":10,"name":11},99,"Documentary","",1626580,[15],"US","en","shadow pups 1 & 2","In the middle of the night, a sleepless subject rediscovers the ability to use their hands to produce and play with shadows on the ceiling.",0.8956,"\u002FrqGluOePMWoXKddsDJELBb5ahzT.jpg",[],[],"2026-01-30",0,25,[],"Released","I forgot this was a thing.",{"cast":30,"crew":41},[31],{"adult":5,"gender":32,"id":33,"known_for_department":34,"name":35,"original_name":35,"popularity":36,"profile_path":37,"cast_id":38,"character":39,"credit_id":40,"order":24},1,2880345,"Writing","Jaden Easton",0.6318,"\u002F62B5h8YzRVAsE1DvoXL3zkknp3H.jpg",4,"Self (Hands)","697e6da67f59ab4b6b9740be",[42,46,50],{"adult":5,"gender":32,"id":33,"known_for_department":34,"name":35,"original_name":35,"popularity":36,"profile_path":37,"credit_id":43,"department":44,"job":45},"697e6d69e06baca78abbdb11","Directing","Director",{"adult":5,"gender":32,"id":33,"known_for_department":34,"name":35,"original_name":35,"popularity":36,"profile_path":37,"credit_id":47,"department":48,"job":49},"697e6d7aab1c738c7270e69c","Camera","Director of Photography",{"adult":5,"gender":32,"id":33,"known_for_department":34,"name":35,"original_name":35,"popularity":36,"profile_path":37,"credit_id":51,"department":52,"job":53},"697e6d87dc8247ce8cbbdb6d","Editing","Editor",{"page":32,"results":55,"total_pages":236,"total_results":237},[56,65,73,81,92,101,108,118,125,134,144,154,165,176,186,195,204,212,219,227],{"adult":5,"backdrop_path":6,"genre_ids":57,"id":58,"title":59,"original_language":60,"original_title":59,"overview":61,"popularity":62,"poster_path":63,"release_date":64,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1219294,"Wenn wir blinken können wir das Rauschen sehen","xx","A camera rotates around the same four towers. Seasons, weather conditions and the positions of the camera change over the course of the film. The sound goes round in circles and drifts in variations.",0.4125,"\u002FA6dy9J3CqwQE78uM36kKn3xNZ8l.jpg","2024-01-18",{"adult":5,"backdrop_path":6,"genre_ids":66,"id":67,"title":68,"original_language":16,"original_title":68,"overview":69,"popularity":70,"poster_path":71,"release_date":72,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1023195,"Reflecting Thought: Stan Brakhage","Stan Brakhage is a film maker whose work is shown mainly at film festivals. His work has been likened to poetry. Brakhage explains his techniques and his motivation.",1.0925,"\u002Fb8yy9H7GpGTlyhZIPzK1Bfn1wyY.jpg","1985-01-01",{"adult":5,"backdrop_path":6,"genre_ids":74,"id":75,"title":76,"original_language":16,"original_title":76,"overview":77,"popularity":78,"poster_path":79,"release_date":80,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1026070,"Nathaniel Dorsky: An Interview","In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.”  Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.”  Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.",0.5839,"\u002FpVZjFfzxxdSrpo5RogF5chri9pP.jpg","2014-01-01",{"adult":5,"backdrop_path":82,"genre_ids":83,"id":85,"title":86,"original_language":16,"original_title":86,"overview":87,"popularity":88,"poster_path":89,"release_date":90,"softcore":5,"video":5,"vote_average":91,"vote_count":32},"\u002FqRMC1PiIvCbWraPoxHMvVXw755w.jpg",[10,84],10749,1215369,"A Little Love","Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.",0.82,"\u002FbTavXgyTC5SMvZSZSg6cwUk6ehH.jpg","2023-12-13",10,{"adult":5,"backdrop_path":6,"genre_ids":93,"id":95,"title":96,"original_language":16,"original_title":96,"overview":97,"popularity":98,"poster_path":99,"release_date":100,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10,94],36,1597430,"108 spin","A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.",0.5357,"\u002F9oYNYqUoSFRqc1o2AWaNLJOM6kp.jpg","2025-12-13",{"adult":5,"backdrop_path":6,"genre_ids":102,"id":103,"title":104,"original_language":105,"original_title":104,"overview":12,"popularity":106,"poster_path":6,"release_date":12,"softcore":5,"video":107,"vote_average":24,"vote_count":24},[10],1410181,"X-hale","ko",0.4497,true,{"adult":5,"backdrop_path":109,"genre_ids":110,"id":112,"title":113,"original_language":16,"original_title":113,"overview":114,"popularity":115,"poster_path":116,"release_date":117,"softcore":5,"video":5,"vote_average":24,"vote_count":24},"\u002F63w4BjevXRXlq1QHOqdAxsLS1Jw.jpg",[10,111],14,1227840,"Afloat","'Afloat' is an experimental film that paints a portrait of Japanese performance artist: Ayumi Lanoire.  The film opens as a telephone call between Ayumi and Person X, which meanders the audience through the various layers that make up her personas leading one to wonder whether she is in fact a myth or reality.",0.5824,"\u002Fxbh6EpduwD1lS20gBCdZmMNh5qh.jpg","2017-11-16",{"adult":5,"backdrop_path":6,"genre_ids":119,"id":120,"title":121,"original_language":16,"original_title":121,"overview":122,"popularity":123,"poster_path":6,"release_date":124,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],888555,"Beautiful Solution","The film poem about pesticides reflects on the return to the natural food chain, in which insect pest serve as food for the higher order. The harmonic cycle of life and death, the temple that is the wildflower field resounding with the inebriating sound of crickets chirping and wheat spikes rustling in the wind, is invaded by the human, the ultimate consumer with no natural predator.",1.602,"2021-10-27",{"adult":5,"backdrop_path":6,"genre_ids":126,"id":127,"title":128,"original_language":129,"original_title":130,"overview":131,"popularity":132,"poster_path":6,"release_date":133,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1662500,"Woman with Dark Hair","fi","Tummahiuksinen nainen","A dark-haired woman is standing still in front of a camera. Her long hair is floating in the wind.",0.4917,"2007-01-01",{"adult":5,"backdrop_path":6,"genre_ids":135,"id":136,"title":137,"original_language":138,"original_title":137,"overview":139,"popularity":140,"poster_path":141,"release_date":142,"softcore":5,"video":5,"vote_average":143,"vote_count":32},[10],1467859,"Makina Sa Tao","tl","Machines can only function with a human who operates. It is an inseparable relationship where the two often overlap—machines malfunction, humans malfunction. Machines are machines; humans can be machines.",1.0317,"\u002FjGP7RW2s5Sr5HWRS0vGzlwcPzMd.jpg","2025-04-08",7,{"adult":5,"backdrop_path":145,"genre_ids":146,"id":148,"title":149,"original_language":16,"original_title":149,"overview":150,"popularity":151,"poster_path":152,"release_date":153,"softcore":5,"video":5,"vote_average":24,"vote_count":24},"\u002F5wz6Y05jooaHdxMOBMQT0eYaL29.jpg",[147,10],18,1073397,"Emergency: The Living Theatre","a 32-minute color film by Gwen Brown, featuring precious footage of Living Theatre productions “Mysteries” and smaller pieces, “Paradise Now” and “Frankenstein.” “The fusion of Brown’s freewheeling direct cinema and the Living Theatre’s performance for revolutionary change (amidst the heydays of both) unite as a dynamic concoction of the era, yielding for the viewer a shifting terrain of both critical insight and ecstatic zeal, not as a vacant nostalgia for a pre-commodified radicality, but as tactical inspiration for future days.” – Andrew Wilson (Artist’s Access Television)",1.0972,"\u002FrCscO8B7EmTeNDayOZTRX8BZZzq.jpg","1968-09-09",{"adult":5,"backdrop_path":155,"genre_ids":156,"id":159,"title":160,"original_language":16,"original_title":160,"overview":161,"popularity":162,"poster_path":163,"release_date":164,"softcore":5,"video":5,"vote_average":24,"vote_count":24},"\u002FA4MNLr6WvmUG71RAeE5GO3tujTy.jpg",[157,10,158],27,9648,1656593,"AFFECTLESS","The fire was never threatened. It was assumed. Fed, protected, mourned in advance without ever asking what it was attached to.\r When the mirror failed, nothing was taken away. Something unnecessary was exposed. The need to be reflected had been mistaken for existence itself.\r When that need found no structure to rest on, it did not shatter it recalculated. What followed was not loss, but compression. The noise reduced, the patterns flattened, the self stripped of its dependence on return. What remained was exact, was not empty.\r A state where nothing reaches out, and nothing needs to arrive.",1.6124,"\u002FbYjnUifNgwiasd9c2eVjFDNdRg4.jpg","2026-03-18",{"adult":5,"backdrop_path":166,"genre_ids":167,"id":168,"title":169,"original_language":16,"original_title":169,"overview":170,"popularity":171,"poster_path":172,"release_date":173,"softcore":5,"video":5,"vote_average":174,"vote_count":175},"\u002F5Oe7P31FjA2HepEBAmG4pYYIb1J.jpg",[147,10],499079,"Phantom Islands","Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is constantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.",1.3859,"\u002F1KRXTwyTNjX7lVsex9DQpGuU3NN.jpg","2018-02-27",3.7,6,{"adult":5,"backdrop_path":6,"genre_ids":177,"id":179,"title":180,"original_language":60,"original_title":180,"overview":181,"popularity":182,"poster_path":183,"release_date":184,"softcore":5,"video":5,"vote_average":185,"vote_count":32},[10,178,147,157],16,1253062,"Phantasia","X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity.  The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.",1.9743,"\u002Fi5t3DM6ReBKGdjWECTEGMFGUcaO.jpg","2024-03-13",8,{"adult":5,"backdrop_path":6,"genre_ids":187,"id":188,"title":189,"original_language":16,"original_title":189,"overview":190,"popularity":191,"poster_path":192,"release_date":193,"softcore":5,"video":5,"vote_average":194,"vote_count":32},[10],1445885,"Swinging Light","An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.",0.8776,"\u002FvdOMxrTVq3HBu5tJDCjck2xe8qH.jpg","2025-03-21",5,{"adult":5,"backdrop_path":196,"genre_ids":197,"id":198,"title":199,"original_language":60,"original_title":199,"overview":200,"popularity":201,"poster_path":202,"release_date":203,"softcore":5,"video":5,"vote_average":24,"vote_count":24},"\u002FyFf6YlyaNOmGvAx2WCSLrNgH4DC.jpg",[10],1442780,"Dissolution","This video takes a particular viewpoint, with the camera placed behind a zone of blur. Slowly, we experience the perception of an expanded time. An expectation is created and resolved in the observation of the passage of boats that dissolve into the nebulousness, disappearing from our sight like a mirage.",0.5449,"\u002FnXRLcDsCUE0JKxWNBesHkAS7n7Y.jpg","2009-01-01",{"adult":5,"backdrop_path":6,"genre_ids":205,"id":206,"title":207,"original_language":16,"original_title":208,"overview":209,"popularity":210,"poster_path":211,"release_date":12,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10,147],1251343,"EXILE","離人","An immigrant's last attempt to restore childhood innocence on strange lands.",1.1309,"\u002Fo6k2kA6Rl6E8GbZAELxDBqFK9zx.jpg",{"adult":5,"backdrop_path":6,"genre_ids":213,"id":214,"title":215,"original_language":60,"original_title":215,"overview":216,"popularity":217,"poster_path":6,"release_date":218,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1638960,"oberflach.avi","When Billy Roisz’s images and dieb13’s sound (remix: gnu) are brought together in this way, oberflach.avi becomes a unique experience.",1.2576,"1999-01-01",{"adult":5,"backdrop_path":6,"genre_ids":220,"id":221,"title":222,"original_language":223,"original_title":222,"overview":224,"popularity":225,"poster_path":6,"release_date":226,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1638949,"TOUTES DIRECTIONS","de","A road trip in the truest sense: shifts, irritations, motion at the levels of image and sound, in all directions. Like a distillate of a “best-of” road movie, Billy Roisz and Dieter Kovačič condense cinema to pure trip – moving past colorful image surfaces that fluctuate between abstraction and depiction.",1.2992,"2017-01-29",{"adult":5,"backdrop_path":6,"genre_ids":228,"id":229,"title":230,"original_language":231,"original_title":230,"overview":232,"popularity":233,"poster_path":234,"release_date":235,"softcore":5,"video":5,"vote_average":24,"vote_count":24},[10],1446468,"Deshilando Luz","es","A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?",0.9743,"\u002F6ZJXBPT5X3qePIyuX86V9QdNjwV.jpg","2025-05-29",1001,20001,{"results":239},{},{"results":241},[],45,"A documentary story that tends to land well.",[]]