A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
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SONG 5: A childbirth song (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).
First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.
A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.
A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.
Alex and José, is a 16mm single channel projection that explores gender, movement and form.
This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."
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An eight-hour contemplative epic, entirely starring sheep.
Two screens of film about - and sometimes shot by - Claes Oldenburg, detailing his inspiration, his methods and his relationship with his partner Hannah Wilke.
Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.
As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.
A poetic, semi-autobiographical short film of the sun setting over a village, shot from behind the curtains of a small, dimly lit room.
The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.
Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.
The title comes from Sergei Yesenin's last poem before comiting suicide. Using Virginia Woolf's last letters as a base, this film is meditation on the power of the word and its undertsanding and the the last moments before saying "goodbye".
An experimental film about that one hypnotic moment on a regular, unassuming Tuesday when one realizes that time has stopped and the universe has been sucked into a single smile.
An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
Industrialization brings progress, but also harmful influences on the environment. Warning of the dangers of waste materials dumped into the air and the waters.
A first feature based on sexual events. An actress undertakes her desire of directing her first movie, without a budget or any production company funding her project. She gathers a group of professional actors and actresses, and proposes a project based on a very particular experience: stepping on their fears through a metaphorical 'leap of faith'. As the project advances, individual conflicts will arise affecting the shoot, making the movie crew wonder whether or not they should go on. Will they take the leap of faith with all its consequences?
This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.
