All Films

Short film by Lu Chunsheng.

Baranowsky's Mondfahrt (2001) was made during a ferry passage from Harwich to Hamburg. Taken by night, Baranowsky filmed the full-moon holding the camera as steady as possible, manipulating the video only by framing the moon into a limited space. Due to the movement of the boat on the waves, the moon becomes a ball-like, rhythmically moving disc. The black and white of the image as well as the lack of any spatial indicators enhance the two-dimensionality of the work. Baranowsky plays with the expectations and experiences of the spectator.

A silent movie in the style of Chaplin set in 1918. Our little tramp, Metly Moorville, is gay and falls for a gay soldier who is heading off to the Great War and has a violently homophobic identical twin brother.

A film investigating ancient writings with a visual reconstruction of the Avesta texts and beautiful settings.

Martin Bormann, the man who, at the end, controlled all access to Hitler, was regarded by his Fuhrer as his most loyal comrade and was named as the executor of Hitler's will.

Double-exposed, sepia-toned film sets the mood for this brief chronicle of the evolving identities that are claimed by a female-to-male transsexual.

Taking its name from The Notwist’s 1998 album (and no doubt also riffing on the informal term for a psychoanalyst), the ‘Shrink’ videos depict text overlaid on found footage of a pre-9/11, Rudolph Giuliani-era New York skyline. The same four songs – ‘Chemicals’, ‘No Encore’, ‘Shrink’ and ‘Your Signs’ – score a panoply of texts ranging from Susan Buck-Morss’s tome on Walter Benjamin, Dialectics of Seeing (1989), to a 1988 interview between art historian Kellie Jones and Hammons, whose blunt rejection of white cultural imperialism plays against The Notwist’s strummy guitars and rattling electronic beats. This sensory overload of music and text illustrates Cokes’s own media politics and his ideas about labour and creativity. ‘Don’t you know’, reads one of Hammons’s responses, scrolling a bit too fast, ‘chasing these stories is what it is?’ [Overview courtesy of Frieze]

Cultures collide when a young man's desire to become a dancer conflicts with his parent's career dreams for him.

Short film from James Fotopoulos, 16mm film (b&w), silent.

Short film from James Fotopoulos, 16mm film (color), mono.

At the very beginning, a small white pixel is visible on a black background. It begins to move orthogonally, describing a square on the screen. As the right angles increase in number, they expand into the third dimension and begin to form cubes. The cubes then join in chains apparently searching without pause for a way out of a larger invisible cube which defines the borders of their digital universe. While this is happening, the pulses of Chris Janka´s technoid soundtrack influence the "snake´s" direction. As is the case with many computer games, cubica permits its player to choose the point-of-view, such as from the outside then switching suddenly from a subjective point-of-view at the head of one of the many "snakes," racing through a world of cubes with neither horizon nor other points of reference. This work, based on the ideal form of a square or cube, provides a fascinating scene for everyone who can appreciate formal precision and perfection. - (Norbert Pfaffenbichler)

A modest collage of images recorded while strolling through Paris...

In the Pastan series, Meldibekov employs his own body to investigate the image of the Central-Asian "Orientalistic Other." In Pastan I, the character performed by the artist passively allows himself to be beaten and humiliated. Viewers are confronted with a seemingly limitless sense of submission, but simultaneously with the monumental force of naked life [sic]. Meldibekov: "This work symbolizes what people in Central-Asia are put through by systems that use violence and fear to maintain control." [Overiview Courtesy of Stedelijk Museum]

A stroll in the forest sharpens the senses ...

Short claymation. An orthodox Christian couple get more than they bargained for when they win tokens to the Frightride. Was also shown on Annecy 2002.

Experimental short by Keiji Aiuchi.

Sweet Is the Day: A Sacred Harp Family Portrait tells the story of the Woottens, one of the key singing families who have helped Sacred Harp music survive and flourish for more than 150 years. Producer/Folklorist Erin Kellen and Director Jim Carnes intertwine scenes of family gatherings, singing conventions, and farm life in the Sand Mountain region of northeast Alabama with family recollections and more than a dozen songs from the revered shape-note tradition. The video explores how Sacred Harp singing is about more than just music - it is a life-shaping force, reflected by tradition, deep spiritual belief, and the community that embraces it.

Commissioned by Frederick Eberstadt

Produced in Istanbul, "L'Attirance" is an essay on an unsubdued desire that bathes in the silence of a presence. The immediate happiness of the skin, of the flesh.

This documentary shows how a project aimed at curbing small arms and light weapons contributes to the establishment of peace and stability in Cambodia. It also shows the obstacles which are met during the implementation of the project, especially regarding the collection of weapons among the population in exchange for development projects, followed by the public destruction of these weapons.

“Traversing homogenous suburbs and multiplexed freeways, Besenbahn clinically and elegantly fragments the notion of a ‘road movie’. Using time slice technology, this videographic experiment transcends time and place as it ruptures the geometries of movement and perception.” — Melbourne Film Festival

An experimental anti-violence secondary school that is often fraught with tension. A chronicle filmed at the heart of the education system, in which the headmaster remains the boss that everyone respects.