All Films

Color Without Colour

1999 • 19 min

An exploration of Achromatopsia.

Foo Fighters: Acoustic Live at Wisseloord Studios

1999 • 43 min

Acoustic Session recorded live at Wisseloord Studios in Hilversum, the Netherlands on November 22nd 1999. 00:00 Intro 02:52 Ain't The Life 09:04 Everlong 14:14 This Is A Call (Jam) 16:19 Floaty 25:08 Next Yeah 35:58 Sister Europe (Jam) 37:34 Learn To Fly

L'enfant et le caïman

1999 • 18 min • Burkina Faso, France

Pillars Of Faith: Religions Around The World

1999 • 48 min

Throughout the world, mankind is joined - but sometimes divided - by the depth and passion of his religious devotion. This film investigates the fascinating range of major religions from all over the globe and explores their differences and similarities. The program features all new location footage, expert comment and analysis,stylish reconstructions, period images, the religions and people.

Moilsome Toilsome

1999 • 6 min

This is a photographed filmic searching-for-whales, the camerawork and editing attempting to approximate something of the rubbing up against water of the whale, of the surface foam and the hard coils of water through which it swims, of the gray-greens and blacks of its environment. And then suddenly there is the vision of many whales rolling, breeching, twisting and turning in various play with eachother, a mother and baby slapping fins together, soforth. This film is about the identification with the world of the whale and the experience of the seeing, then (at the distance of being human), many killer whales in glimpses of our given sights of them.

Fils d’Images

1999 • 1 min • France

1999, 16mm, 01'30", color, silent, France

Attraverso un vetro sporco

1999 • 7 min

Neuf et demi

1999 • 3 min • France

A self-portrait which erases itself, leaving place to a dance of luminous rhythms.

Franklin et ses amis

1999 • 25 min

Minus

1999 • 3 min • Canada

Minus is a hand-processed, uncut, singular stream of movements. To take away: either to leave remnants of light or to leave remnants of rhythms. Entirely hand-processed and unscathed by the blades of the splicer. This is Chong's first 16mm film. Inspired by Ritchie Hawkin's Concept albums.

Haragia

1999 • 12 min

When talking about missing people we are talking about a virtual death, with no body. But we need to see the corpse of those people to whom we want to bid farewell so as to be able to do it.

White Road

1999 • 13 min

Set in a particular location, a stretch of ‘white’ – unmetalled – road in Umbria. Structured around ordered and disordered features of the landscape.

Kan Xuan! Ai!

1999 • 2 min

In the video Kan Xuan! Ai! (1999), Kan runs through a pedestrian underpass in Beijing’s Fuxingmen subway station, repeatedly shouting and responding to her name as if searching for the lost self. Against a surging crowd, Kan’s anxious calls to the self amplify a common tension between one’s subjective experience and mainstream values or social norms.

Apeshit

1999 • 6 min • United States of America

Employing footage from an obscure 8mm film trailer for Battle for the Planet of the Apes to highlight the unstable relationship between the real, historical past and the distant, imaginary future, this project revolves around a central question: Is alien-ness indeed the metaphor for the 20th Century as power relationships have been embodied within our subconscious? Is there a relationship between these forgotten formats and the discontinued political ideologies that they depict? Transferred from Super-8 and then processed using a combination of high-end digital and vintage analog processing techniques, Apeshit emphasizes the contradictory references found in both the original text and its adaptation. Serving up Battle for the Planet of the Apes as proof, Apeshit puts forth tolerance as an outmoded technology.

Quiver

1999 • 5 min

A requiem for death and a memoir of pain, where the line between consent and assault is as blurred as the line between the characters' past and present. "Quiver" is a disturbing journey into the psyche of one man's memory. It is a mirage of sexual violence in the midst of AIDS, love, regret and exoneration.

Arctic Hysteria

1999 • 6 min

"The film, which lasts six minutes, is silent and consists almost entirely of one scene: Arke crawling naked across a giant black-and-white photo of Nuugaarsuk Point, a spit of land at the terminus of a C-shaped bay. The artist lived there, outside the small town of Narsaq, Greenland, with her parents and siblings in the late 1960s. In the film, Arke strokes the artificial landscape, rolls across it, and sniffs it like an animal. Then she methodically rips the entire thing to shreds, gathers the curled shards of paper, and lets them fall across her shoulders and thighs." - Vanessa Gregory

Sparklehorse

1999 • 9 min

Shot on 16mm with a soundtrack by Sparklehorse. With "Sparklehorse", Gariné Torossian returns to the collage style of filmmaking explored in her earlier films, "Visions," "Girl From Moush," and "Drowning In Flames." "Sparklehorse" subtly conveys, with characteristic poetry, the ways in which people communicate with and value each other in a world of spiralling meditation. The film is divided into three distinct sections: "Happy Man," "Good Morning Spider" and "Hundreds of Sparrows."

Red Rain

1999 • 60 min

Laura Plotkin's 1998 video documents the life of boxer Gina “Boom Boom” Guidi. Skillfully intercutting diverse voices with Guidi's, Plotkin captures the woman's energy and emotional strength: the oldest child of a single mom, Guidi had to raise three younger brothers and recover from drug and alcohol abuse to become the thoroughly grounded person we see in the film. Though she's openly lesbian, she argues that her sexuality has nothing to do with her being a boxer, and while she's mature enough to ignore a homophobic slur from a magazine publisher, she's clearly hurt by it. Her vulnerability is visible in the ring too, her face registering fear and hesitation as well as aggressiveness.

Fable: I Want the World, Clean

1999 • 16 min

"Todd's poetic documentary excavates the history of a family home that has been passed down five generations. It uncovers a sort of violence done in the course of carving up the land and trying to purify one's family histories." - Chris Gehman, Images Festival of Independent Film & Video, 2001

Amnesia

1999 • 7 min

A film that uses found footage, 19th century photographs of affectionate men, digitized video imagery, and gay ephemera to imagine a past and create a future.

We are Traffic!

1999 • 50 min

The film chronicles the history and development of "Critical Mass", the leaderless, grassroots bicycle movement from its 1992 beginnings in San Francisco to its spread across the globe to over 200 cities in 14 countries. With traffic congestion, pollution, and road rage on the rise, cyclists are advocating for transportation alternatives. Critical Mass is at the cutting edge of this mindset.

Ferment

1999 • 5 min

A momentary lapse of motion as Macmillan cuts a cross-section through the city’s day. Mobile photography or freeze film? Small epiphanies and the human trace, whatever the terms.

Aziz Shakhar, Looking for a Job

1999 • 5 min • Japan

"My name is Aziz Shakhar. I had studied the law for two years at the Cairo university. Now I'm living in Amman, Jordany..." A footage which I picked up to cite was one of a "pre-text". In this film, I tried to make a metric film just like a 60-70's structural film. I assumed the film as a set of serialized footage on time. Systematic re-editing made us new meanings and images itself.

Fountain

1999 • 6 min

Fountain is a video that originated from a live performance of drinking water from a mirror. The image of confronting one’s own image recalls Narcissus, the Greek god that fell in love with his own image without recognizing it as his own, in some way being a splitting of the interior and exterior selves. In Fountain the image attempts to become whole again by drinking in the image of itself.