All Films

Experiment in abstraction through the discovery of bodies and of the senses: six moments in a story of a meeting. The story of two (or three) bodies. Stigmas, decompression, red. Black. Several days. Several short stories. Green. Yellow. Abstract pornography. This movie is the first movie completely based on psychovisual compressions. The film is the story of the relationships between forms and the image in which they are registered. It is a story of meetings. It is a sulphurous story. This movie has something of a pornographic character. It focuses on the act itself.

As the first character to appear – the Mother – enters a square, gold-walled room, she blends so perfectly into the background that all perspective is lost. The visual order is disarticulated by the reflection of the gold to such an extent that even the woman skin loses its “hold” on solidity.

The spirit of poets permeates the space/time occupied by an assortment of dinner engagements that occasionally erupt into physical or verbal assaults on the taste buds. Flowers of evil are absent from this foray into the spoken word, as the message is one of courage in the face of carnivorous tendencies. An archivist shares his dream with us while the dreamers dabble in their own brand of munchies meant to nourish rather than negate. Mortality hovers over the hovels of the hungry as poetry becomes as concrete as the pastry offered we mortals on planet Earth.

After much hard work and self-sacrifice, Indian and Cowboy pass their school exams with flying colors. To reward them for their efforts, Horse buys them VIP passes for the Annual Agricultural Fair – but when he leaves the living room to go get them, he slips on a skateboard that had been left lying around and comes crashing down on his head. When Horse wakes up in the hospital, he’s suffering from amnesia and has no idea where he hid the tickets. So begins a race against time for Indian and Cowboy who must get hold of the precious passes before it’s too late…

Directed by Raymond Salvatore Harmon

"This is a personal tape about history, boredom and super-8 film. A lone boy lurking in the grassy knoll plays himself in a day to day anti-drama. The same boy takes on the un-romantic role of a well-known political figure. It is judicious to assume that in this instance, somewhere between speculation and depression lies the truth. This piece features by Prefuse 73, Autopoieses and Stars of the Lid."

When we are in the dark, we can see only the sign of the space. The moment the light comes into the room, we can see another space. This space is the incorporated like smoke construction that is composed of the dark, light and time.

"Art Jones commissioned this piece for a show called “Word” which opens at Diverse Works in Houston this April. Each participant was asked to choose a particular article or essay in order to generate a visual/audio/virtual response. The work produced is a conversation between an artist and a writer. For Skin Job, I chose to respond to various articles contemporary theorist, Laura Kipnis has written about pornography. I am interested in the similarities between how she writes about sexualized female bodies and how many other contemporary writers address technology. We fetishize flesh in the same way that we fetishize machines. The text in the piece is an original haiku which suggests that the heroine is man-made—an android. She is a bionic woman with an unlikely sense of loneliness, sexuality and desire. She seems observed and disoriented in her empty, future space. This piece contemplates a virtual identity as it influences a sense of contemporary utopia. (...)"

People dance in private moments of personal abandon across London in the summer of 2001. The film is the result of the director’s work with the first ten respondents to a local newspaper advertisement that she placed seeking ‘living-room dancers’ – people who love to dance behind closed doors.

Between dream and nightmare, The Delmarva Chicken of Tomorrow is a traversal of here and elsewhere, first and third world; a fairytale of production, resources, capitalism, globalisation , refuse and refusal: The Delmarva Chicken of Tomorrow is a film not about the struggle to be seen, but about the struggle to see.

In a somber room, there's a flower at a far window. A hidden movement in this video transforms with the course of time into turns and reverses of the inside and the outside of the room, day and night or light and darkness. However, the flower, the pivot of the movement, collapses its own exsistance as one could hardly tell even the color. Here we loose the core we rely on.

"A film that I'd made in New York at the end, it was four years ago and super snowing there, I showed the movie and left the US the next day" (Stom Sogo)

After the death of his girlfriend, the painter lost all his inspiration; he then starts to be pressured by the owner of the gallery. Living constantly with images of his girlfriend, the painter feels hes going crazy, he hears her voice and at the same time he sees her representation in a screen, in the last painting he did.

A poetic essay on the ramifications of the foot-and-mouth-disease in Great Britain in 2001

Created with the ‘anamorphic Boyétizeur’, built in 1974, this experimental video offers an alternative representation of the human face as an anthropological source of story-telling, imagination, and emotion. Set to profound music, it offers a hyper-sensitive vision of the living.

K is a chronicle and an experimental biography. Each part of K is centered around a particular problem: childhood, demonstrations in Kabylia, women… At the breaking up of a family (K Il est une fois…) echo the scattered pieces of a Kabylia torn by struggle and demonstrations (K Les Luttes Amazigh), especially in the region of Tizi Ouzou, our family home. Amazigh means Free Man in our language, which is more relevant than ever in this short film.

Based on the Book by: Sheila Walsh

An animated homage to the “arpilleras”, women that knitted history in Chile during the dictatorship.

"M" is an initial of my little bird "Mystic". "Dedicated to M" is a work that was dedicated to my dear little bird. I will break the shell of the human soul. I have a sexual relationship with "M" in the time of eternity.

Experimental short by Sheri Wills.

“I met Jean Lambert one year after my arrival in Bénouville, in 1992...Before we met, I used to see his house, his farm, and wondered who could be living in such a mess, amidst such neglect. I had prowled around a lot before approaching him, for months. The day I decided to go and see him on the pretext of buying milk, I cycled from Bénouville with my empty milk bottles. On the way, the police stopped me to ask where I was going. What a coincidence! Jean Lambert gave me the milk, pointing out that there were other farms closer to where I lived. The most difficult step had been taken…I went back to have dinner with him once a week. I’d arrive around 7pm and leave around two or three in the morning, always on my bike, often drunk…Later, I suggested that we make a film. He found the idea amusing, even though he mistrusted cinema. ‘You’re wasting your time, poetry is the only good thing. He died in April, the year of the eclipse….I finished the film I’d begun with him, without him"

“Yves Edouard is someone I hear a lot about. He’s a farmer and cereal grower, an endive producer…. He’s clearly a character out of a novel. One morning, I went to his farm and he hired me, as he needed someone to weed his endive fields….When I went to see him, I imagined constructing something romanesque and aesthetic. I had planned to film the work but this proved impossible. I then met Catherine Pernot, the friend of my friend Sophie Roger. I was enchanted by her way of talking about things, even the most ordinary ones. I described the work on the endive farm so that she could turn it into her own story. I recorded her and reworked her words to create a text that she then had to learn and act out in front of the camera. Next, I filmed an interview between Yves and myself. The film is thus composed of two sequence shots: Catherine, then Yves. As if they had slipped into their characters’ skin, she tells the story, he answers the questions.”

A lonely young dancer faces peer pressure from her colleagues to have sex at a party.