All Films

Fair Phyllis affirms to all women "You're not alone!" in the craziness of busy, multi-tasking lives--what with the demands of career, the kids or just trying to get a moment alone with your man. This short animated film delights in celebrating the resiliency and resourcefulness of the female sex. Set in an 18th century pastoral countryside, Fair Phyllis the shepherdess struggles with her chaotic woolly world. Will she find balance or crack under the shear stress of it all?

Before there was Think Thank, there was JBDuece. One J was Jesse Burtner, who as you know, has made more snowboard videos than anyone in the world.

Time exposure flows under light in movement until the end of the film.

“Our life is a movie! You shouldn’t be making another one,” an angry mother shouts, but her daughter is out the gate, determined to join a group of clandestine actors and filmmakers in a waiting van. In the dusty village of Khosro, twenty kilometers from Tehran, work can be found at the brick kiln, but amateur film production gives the locals something to live for. Or did, until the authorities discovered this community pastime, and writer-director Ali Matini was imprisoned. Now all but a few shun the project on pain of arrest. But Matini and company dared to make one more film so that the better-known director Moslem Mansouri (once a political prisoner himself) could document their art and courage. With a donkey for a dolly, the crew quips, “Even Orson Welles cannot work like this.” But then, Welles can’t honestly say, as Matini does, “Our life is what Kafka described. . . . We are hanging from the gallows of cinema.”

Birds of Paradise alludes to the parallelisms between women and birds that have come from art and literature.

A woman carefully drapes blue, white, and red cloths around her hips, as if she were about to begin a belly dance. This reference to the cliché of oriental femininity is tellingly clothed in the colors of the French nation. After a few minutes, just as the body finally begins its rhythmic movements, the Marseillaise blares out demonstratively. The heroic-national aspect of the march music supplants the expected sensuality of the dance. From the perspective of a young Algerian woman living in France, Zoulikha Bouabdellah presents the history of colonialism and a post-colonial present equally marked by exoticisms and racisms in an ironic and extremely condensed form. 1-channel video installation, color, sound

Penumbra consists of a series of continuous overlapping dissolves on a grid of white bathroom tiles, which are uniformly framed throughout the film.

DV / 22 min. / Color

A serpent with wings and a human face kidnaps a girl before the wedding.

WW productions in association with Poor Boyz Productions bring you French Toast. X Games Gold medallist, Candide Thovex has taken skiing to new heights. Known for his mastery of air and spins, Candide and friends, including Shoya Okazaki, have compiled the biggest hips and quarter pipes known to skiing. Almost all back country, this film highlights the Candide Thovex Invitationalin La Clusaz, France and features Candide's giant step-ups, huge gaps and rock to rock transfers. This movie will show you skiing in a way that defies gravity. Filmed in France, Switzerland and other locations around the world. Features the world's biggest and sickest half pipe showdowns and the largest step-ups ever built!

Starring Zhanna. Gamaya ("Lead Us") a Sanskrit mantra performed by Zhanna, recorded and mastered by Zak May. This is a haiku and offers a prelude to CONSUME

The film is composed from thirty-second long time-lapse sequences, filmed in Northwest Umbria. Condensing days into seconds, Hamlyn makes use of lap dissolves and time-lapse photography to compress the temporal duration of the Italian landscape. The film invokes some pre-cinematic technologies mainly in the shadow plays where light and shadow manifest as the movement of trees, clouds, and other objects cast by the sun project and dance onto white walls and other surfaces, emulating and interacting with the film’s grain

Rocky Mountain National Park and Estes Park are blessed with a display of wildlife that dazzles the minds of all who visit. This video contains a cross section of some of the park?s most enchanting creatures captured on tape by award- winning videographer Nick Molle. Witness the elk, bighorn, moose, the evasive mountain lion, and many of their neighbors. Watch for tips on viewing from local experts, and learn about animal behavior and habitat. This production is guaranteed to entertain and enlighten all wildlife enthusiasts

“The second collaboration I did with R.K. Adams, we proceeded to experiment with the Idea of using panels in our films. When we talked about doing this we decided that we wanted to pay homage to the upcoming spring, the result was this film"

A half-hour immersion under the trees, road after road, with a succession of landscapes from the Périgord Noir... “uaoen” is a dreamlike film that leads the spectator through a landscape in transformation: in turn, its image is transformed, tree by tree, pixel by pixel — the landscape looses it’s iconography and its depth all while moving towards a final rupture with perspective by becoming completely flat. A work which frees itself from classical film dogma in order to become a space that is open and thus reserved for the liberty of the imagination.

Shot in 1998, this "making of" goes behind the scenes of the mini-budget miracle indie-film Despiser with interviews with cast and crew.

Rotating landscape, animated postcard, the Anosy lake in Antananarivo (Madagascar) considered as a space to approach by his own characteristics.

A new born child sitting on the stage, unaware of the place wich surrounds him, together with a mask which is teaching him the alphabet. The scene shifts constantly between fiction and the reality of fiction, swapping the point of view between the stage and the stalls.

The Mother drags a lifeless girl from the bed in wich she was sleeping. Sloth, mortal sadness, is the word wich seals this woman’s destiny as she receives blows, luminous flows and sound stalagmites full in the face.

Mussolini is surrounded by pictures torn from a history-generated dream which gradually merge into everyday reality. Harlequin is the servant of two masters. The permanence of the clergy in the Eternal City is placed under a great bell which swings without a clapper.

The film sees a businessman (the Soho Eckstein figure from Kentridge's earlier films) standing on a hotel balcony watching the waves. Time passes, as the sea rolls back andforth in endless repetitions. We as viewers observed from his point of view. Then the scene shifts to a large drawing of a man, still in his business suit but now alternately sleeping and reading a newspaper at the water's edge in a deck chair. The drawing is folded into a series of images that provide a visual mediation on time's passage, on industry, on ildeness. Kentridge's work is often densely allusive, and here the film alludes to the Old Testament. The artist expressedly indicates that biblical accounts has informed his thinking. It is what he refers to as being 'over-determined' in that the motif arises from several distinct sets of meaning.

Desde la memoria are recollections of the Spanish Civil War and the Franco dictatorship. Excerpts from interviews with contemporary witnesses, alienated archive material and pictures of today’s Spanish day-to-day-life have been merged into an experimental montage. Picture and sound fragments are associatively related, evoking – like a collective stream of memories – the misery in times of war and oppression.

Images of Paris are juxtaposed with portraits.

The film I made from Gary Henoch and Harlow Robinson’s footage, An Anagram is not a documentary at all, but rather a poetic essay on the impact of the sudden collapse of a belief system on a culture. It has a 17 part quasi-musical structure inspired by Dmitri Shostakovich's Preludes and Fugues that at times ignores the literal meaning of certain interviews for the fragrant affect of the language and body language; that is, certain interactions are left un-translated so that the viewer is given full and unfettered access to the musical spirit that animates the arguments and quarrels caught so delicately in the sound and images. - Daniel Barnett