9 Songs A Place in the World Adieu After We Are Gone Ana and the others And Thereafter Arktika: The Russian Dream that Failed Bitter Dream Black Box Bright Future Bungalow Channel Swimmers Cinévardaphoto Common Ground Conversations de salon Crane World Crimson Gold Days of Santiago Dead Man DiG! Dracula: Pages from a Virgin End of the Century Fallen Angel: Gram Parsons Father and Son For a Place Under the Heavens Freedom Good Bye, Dragon Inn Good Morning, Night In the Battlefields In the Realms of the Unreal Justice La Mecha Last Days of the Victim Letters To Ali Life Running Out Of Control Lightning in a Bottle Metallica: Some Kind of Monster Miguel and the mines Mysterious Object At Noon Norberto´s Sheets Pin Boy Pinochet and his three generals Roma Shipbreakers Short Stories I Silvia Prieto Sorceress of the New Piano Sylvia Kristel - Paris Thank You Kindly The Beach of Love The Dead The Disco of Love The Lion´s Share The Other Side of AIDS The Story of the Weeping Camel The Swamp The Time We Killed Time for Revenge Touch the Sound Turbulent Waters Venus and Fleur Wall Wall Street Woman of Breakwater

The Time We Killed A meditation on life, death and a chosen state of solitude. Original Title: The Time We Killed Director: Jennifer Todd Reeves Country of Origin: USA Language: English Runtime: 95 min Tecnology: Video, B&W Year: 2004 Cast: Susan Arthur, Rainer Dragon, Lisa Jarnot, Valeska Peschke. More about the plot: Jennifer Todd Reeves’ award-winning experimental feature is a brilliant and gritty visual poem about a New York recluse, Robyn, who grapples with the mental and emotional consequences of her increasing agoraphobia. After a suicide attempt at age seventeen, Robyn incurs a selective amnesia that eliminates painful memories from before the incident. Nonetheless, memories, fantasy, and events from the outside world, including images of the U.S. war in Iraq, invade her consciousness. As Robyn discovers outlets to the outside, she must decide whether to remain within her enclosure or to face a world that is horrible and tragic, but sometimes beautiful. Reeves develops a dazzling grammar to visually distinguish Robyn’s external world from her internal subjective states. Contrasting crisp, black-and-white digital photography with lyrical, optically manipulated 16mm passages, she has created a work both formally inventive and emotionally expressive.