All Films

Tender Bodies is a 3D computer animation that uses the logic of computer games to collapse and reconstruct narrative space. Narrative scenes are connected through a constantly shifting environment of bridges and tunnels. The inhabitants of this landscape are genetically or cosmetically altered. They like to eat and go to parties and experiment on things they don’t understand. The narrative in the animation involves a number of characters. Kisser is a carnivore that enjoys the act of seduction and consumption. Other is a stranger that is chased down and sold for experimentation since it is too unusual to eat. Faun is a botched genetic experiment, a gene spliced attempt to make a unicorn that resulted in a world-weary solitary figure. These characters live in a wordless environment. They have limited interaction with each other and try to avoid interaction completely. However sometimes the three-dimensional space collapses upon itself and they find themselves face to face.

Toontown was a home for Toons everywhere, but when Scrooge McDuck was going to see his employee Gyro Gearloose, he found a robot and of course he thought he could sell it to Toons.

A couple eating at a restaurant. When I left the store and tried to go to the amusement park, I suddenly hit a passerby with a car. However, the two run away without stopping the car. I continued to drive while having a casual conversation, but I lost my way, perhaps because I was upset by the hit-and-run. On the way, they put a hitchhiking man in the car. A self-proclaimed novelist, he tells the story of "the story of the biggest fat in the world" and disappears into the deep forest.

A fictionalized look at activism in America circa 1994. David Wojnarowicz fights AIDS while teenage lesbian Sarah Rosenberg fights to save the television show My So Called Life from cancellation.

Teckademics, the import tuning company that brought you Mischief, the #1 selling street racing title, goes inside the fast-growing world of street trucks. With chapters on dragging, off-road, mud driving, extreme truck launching, trophy trucks, monster trucks, bling-bling show stoppers rollin' on dubs, stupid stunts, crazy audio systems, hopping, bagged and dragged body dropped machines, hot truck chicks, the people behind the mayhem, racing, truck shows, and the 2002 SEMA show, all set to a fast-paced soundtrack from Lobster Records

Experimental short by Maki Satake.

Created by using 16mm blank film and black pigment, which has been manually rubbed into a layer of transparent silicone. In projection, it becomes a rapid and infinitely complex hypnagogic vision. Frame by frame, this film shows 17,000 of these different black and white images through the rapid speed of the projector. Black surface meets white surface, fabricated by the projection lamp.

Librium takes you to locations like Hawaii, California, Australia and also less covered spots like Samoa and Florida. This video is more than just great footage edited together with awesome tunes... It is artfully crafted to help remind us that surfing... Jamie OBrien, Mikala Jones, Mark Healy

No-one could care less about tectonic plates, no more than they could about the 1940s; the same goes for the melting of the north and south poles & all that crap... But a Blockhaus gradually sinking into the sand is always amusing to see...

“Cockroach is a handmade, cameraless animated film constructed with basic materials found around the home - newspaper, ink and Kool-Aid. Using cockroaches as a metaphor for language, it chronicles the pervasiveness and endurance of these primordial creatures. Text by Christian Cotroneo ("It's a bug's life in downtown Toronto," originally printed in the Toronto Star) is used to create the soundtrack.”

EveryDay life of a Chinese Country Village

WATER WATER revisits the bathroom location of a previous film WHITE LIGHT (1996). It is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The black and white first part is composed of individually filmed frames (animation) which form shots of interlaced contrary motion that nevertheless can be read as sequences of individual frames, and/or in which alternate frames are lit in contrasting ways so as to emulate negative-positive juxtapositions. In the colour second half, dissolves replace cuts, light softens and contrast decreases. Continuity, by way of isomorphic features in the room, replaces the discontinuities of part one.

A salt-of-the-earth Prince Edward Islander talks about the way things were, the way things are, and the way he sees it all.

Offers a rare view into the rich textures of African fingerstyle guitar music. It was recorded by the famous cultural anthropologist Gerhard Kubik between 1966 and 1993. These are audio-visual field recordings from isolated African villages to the gardens of Europe, presenting some of the legends of this style: Mwenda Jean Bosco, Faustino Okello, Pierre Gwa , Daniel Kachamba and others.

From the Lido to Venice via the Canal Grande: reflections on the lagoon, architecture, facades of churches and secular buildings, under the warm sunset of a winter afternoon. Cinema as accelerated painting. By train until the exploration of the tiny daily life, under an incandescent light. The journey stops between the trees of Bois d'Arcy.

This glance at Bob Burns' Alien movie collection is featured on the 9th bonus disc for the Alien Quadrilogy, released in 2003.

Gavin Turk is a leading figure in British contemporary art. His 1991 degree show work Cave, a blue ceramic plaque commemorating his occupancy of a studio, and Pop, the waxwork figure of himself as Sid Vicious, are among the iconic artworks of the 1990s. His “self-portrait” signatures and his finely crafted sculptures of everyday objects (such as cardboard boxes cast in bronze) bring the commonplace into an art space and challenge the viewer to engage in new ways.

Images of home, and city, and a written message. '…consider that it is no longer so easy to view the (often) depopulated public and private spaces Todd observes as merely the manifestations of a particular aesthetic preference, sensibility or tradition, personal or otherwise. These spaces are, perhaps inevitably now, endowed with a latent off-screen presence, with a sense of gathering incident or the after-ripple of event that can no longer be ignored.’

A puppet boy follows a marble into a museum of dreams

A young couple discovers that their 8-year-old son is possessed by an evil spirit.

Pascal Baes experiments with the reflecting feedback of a video projector in a meticulous interaction with a performance by his life companion Aï Suzuki. In post-processing, the images were digitally edited, which results in an expressionist, abstract study of the human body. With the help of various effects, Baes radically intervenes on the images, mutating shapes, penetrating textures and reconstructing his visual experiment into a psychedelic phantasm of the ‘corpus humanis’ and distorted sensuality. Demographical lines fuse together with shreds of human body and facial traits in a restless outburst of colour, lighting and movement, expanding in interaction with an electronic composition of sliding and lashing sounds into a claustrophobic experience.

This documentary is a vision of the Spanish civil war seen by the children of that time: sometimes as a game and other times as a dangerous adventure. A mixture of fascination and fear that was captured forever in the form of drawings.

With the campus-wide dance competition looming over their strong, toned shoulders, the men of Closson pull off their gutsiest move yet: they ask someone else to help.