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From the particle accelerator in Switzerland, where scientists seek to probe regions of time we cannot see, to lava flows in Hawaii which have overwhelmed all but one home on the south side of Big Island; from the disintegration of inner-city Detroit, to a Hindu funeral rite near the place of Buddha's enlightenment, Mettler explores our perception of time. He dares to dream the movie of the future while also immersing us in the wonder of the everyday.  THE END OF TIME, at once personal, rigorous and visionary, Peter Mettler has crafted a film as compelling and magnificent as its subject.",[11],0.9391,15,"\u002F8ERn9JiYSYolNKKZRTkSEH8B8M0.jpg","2012-12-12",7.1,"\u002FwrTkiQg4U2ujKEHddZ0pWwPMszS.jpg","en",{"id":76,"adult":6,"title":77,"video":6,"overview":78,"softcore":6,"genre_ids":79,"popularity":80,"vote_count":81,"poster_path":82,"release_date":83,"vote_average":84,"backdrop_path":25,"original_title":77,"original_language":74},130842,"Take the 5:10 to Dreamland","Its slow somnambulic rhythm, its animalistic jungle sounds as well as the eerily mixed images create a dream mood that comes closest to my actual dreaming-feeling. The long black phases between the sequences are as important as the images themselves because they leave empty space where the \"echo\" of the last image can seep through without interfering with the following image. 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With this newly restored print there is also a possibility to discover the relationship between Rousseau's art of filming and Jan Vermeer's famous painting. As Prosper Hillairet wrote in 1988, four years after Rousseau had finished Jeune femme ... (for the first time as we know today): «Without adopting the usual systematic spirit and form of cinéma structurel, Rousseau presents us with simple images and leaves it at that. Keeps the image in hand. 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The fish gasps for air and the fisherman holds it to his chest until it dies. This sequence—performed by a series of fishermen, of various ages and using various styles of capture—is the spine of the work, interrupted by passages of quiet natural beauty; one shot is a steady, stately pan through scores of trees and empty air behind.\" - Vinson Cunningham",[11],1.5787,"\u002F4S52qq0a02BhVXU7Og8cUxa5tUD.jpg","2016-11-14",10,"O Peixe",{"id":204,"adult":6,"title":205,"video":6,"overview":206,"softcore":6,"genre_ids":207,"popularity":208,"vote_count":8,"poster_path":209,"release_date":210,"vote_average":8,"backdrop_path":25,"original_title":205,"original_language":74},449815,"Spirit House","A tale of 2 passages within the Spirit house. This is the first in a series that looks at the places we find our spiritual presence augmented, inflamed, or simply acknowledged.",[11],1.304,"\u002FdgTf0N7xpqojQy5P3ekRREfIj1W.jpg","2008-06-22",{"id":212,"adult":6,"title":213,"video":6,"overview":214,"softcore":6,"genre_ids":215,"popularity":216,"vote_count":217,"poster_path":218,"release_date":219,"vote_average":220,"backdrop_path":221,"original_title":213,"original_language":74},820479,"A Trans with a Movie Camera","A non-narrative cine-essay that collaboratively explores the potentials for trans feminine representation in film.",[11],0.8418,5,"\u002FaxzoQio97yrgcLNot6eMiJbvvTV.jpg","2018-11-02",5.6,"\u002Fg6jaobhIUCwksmiX0v8IHWqFPX.jpg",{"id":223,"adult":6,"title":224,"video":6,"overview":225,"softcore":6,"genre_ids":226,"popularity":227,"vote_count":8,"poster_path":228,"release_date":229,"vote_average":8,"backdrop_path":25,"original_title":224,"original_language":170},630372,"Envío 21","For Barbara Figueroa",[11],0.6363,"\u002FsmNPvlX3I6yrfeo5ObZ3oVP0hCL.jpg","2009-08-13",{"id":231,"adult":6,"title":232,"video":6,"overview":233,"softcore":6,"genre_ids":234,"popularity":235,"vote_count":84,"poster_path":25,"release_date":236,"vote_average":237,"backdrop_path":25,"original_title":232,"original_language":74},263841,"Daumë","Culled from four rolls of Super-8 film shot while the maker was a development worker in a small South American village, Daumë is at its center a film about ritual, power, and play. 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Ancient and modern explorer texts of Easter Island are garbled together by a computer narrator, resulting in a forever repeating narrative of discovery, colonialism, loss and departure.",[11],0.4861,"2002-01-01",5.8,{"id":247,"adult":6,"title":248,"video":6,"overview":249,"softcore":6,"genre_ids":250,"popularity":251,"vote_count":32,"poster_path":25,"release_date":252,"vote_average":101,"backdrop_path":25,"original_title":248,"original_language":74},263851,"The Red and the Blue Gods","An ethnographic field report in which the Anthropologist describes the mythic creation of an unnamed ‘sun-scraping structure’ through the ritualized actions of the Red and the Blue Gods.",[11],0.4655,"2005-01-01",1001,20001,"Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.",0.9963,"2019-10-08",[259],"ES",{"results":261},{},[],[],[265,268],{"name":266,"iso_3166_1":267},"Chile","CL",{"name":269,"iso_3166_1":270},"Cuba","CU",45,"A documentary story that tends to land well.",[]]