All Films

A journey along country roads on a bright day.

A very personal lecture on filmmaker and friend Jim Davis.

“Presents scenes from the life of William Heirens, dubbed the “Lipstick Killer” .. Trainor imagines Heirens’s private moments through a series of dreamlike vignettes. Taking cues from a study published in the American Journal of Psychiatry in 1946, Trainor depicts the juvenile Heirens’s pathological obsessions and behavioral abnormalities—his penchant for stealing women’s underwear, his compulsion to break into apartments and defecate in them .. “I got interested in a process of rote, uncritical tracing, where my drawings would get bent out of shape without much attempt to control them...I like Sharpie pens because the thick line, though unforgiving, goes down quickly; I can draw lots of pictures quickly. I stopped being concerned about their awkwardness.” These strategies, he explained, allowed the violent disturbances of Heirens’s psyche to be articulated through trembling visual designs, a fitting marriage of style and subject." - Light Industry

Relaring motherhood with death rather that life, infanticide is an extreme act and an excruciating mirror

An experimental videotape addressing issues of surveillance and technology that allow us to see where we normally cannot. Highlights several narratives revolving around video surveilliance -- not to reiterate the conventional privacy argument, but rather to engage the desire to watch surveillance materials, and society's insatiable voyeurism.

Based on a play by Wole Soyinka, The Strong Breed, SO BE IT offers an emotionally searing allegory of present-day Africa's bloody internecine convulsions.

Garden gnomes seem so happy, good-natured in your home. But a spaceship lands on Earth and makes the garden gnomes naughty.

Skin and flesh erupt as memories penetrate and distort the surface and the film emulsion is also ripped open.

"It was a night of passion, a passion so intense it makes you miserable..."

Explores and questions non-Native perceptions of Indians by asking pointedly: “What were you expecting, anyway? Sitting Bull? Chief Joseph… saying ‘the earth and I are one?’”

Set to a drumtrack by David Shaw, Phi-Brite is a short experimental animated film shot completely off a Lite-Brite - the well known light-peg art toy. Colorful abstract shapes move to a funky drumbeat you can dance to.

Expanding on Partially Buried, Partially Buried Continued focuses on the mingling of past and present by reflecting on the photographic medium. The video reexamines slide films taken during the Korean War by Green’s father; photographs taken in Korea in Kwangju on May 18, 1980, during the democratic uprising and brutal state-sponsored response; and photographs taken by the artist in Kwangju and Seoul during a residency in 1997. Using the works of Robert Smithson and Theresa Hak Kyung Cha as touchstones, Green reflects on memory, memorials, and remembrance, while exploring the complexities of how we find ourselves entangled in relationships to countries, nationalities, and specific moments in time. (Video Data Bank)

"By bicycle (A vélo) may be an imaginary life in Ukraine, among forests and river and plane noises above our heads, riding a bike. Cinema is a reel of desire." (the8fest)

A computer animation showcase.

A couple, on the edge of incommunicability, seeks reconciliation on a quiet beach during Carnival. A native of this fishing village reveals and ritualizes the elements of nature. Intermediated by their action, we accompany the transformations of the couple and the small community.

A humorous story-musical about a pumpkin, the host of a vegetable garden, his wife and many relatives and friends. They all live nearby and often solve some of their living problems. Cucumbers want to play, and the carrot-girls are waiting for worthy suitors. Here there are festivals and folk rituals and the work around which life revolves of vegetable villagers.

An investigation and reflection on the figure of the Senegalese poet and politician Léopold Sédar Senghor. The filmmaker collects his memories, explores his own memory and that of his family to write a “letter” to Léopold Sédar Senghor the poet, the academician, but also the former head of state of Senegal. Words and images are addressed to the ancestor, the grandfather in the African sense of the term, the one to whom we can tell everything, the most secret words, the most sincere confidences like the most biting pikes. , provided you know how to respect the codes that allow this game of truth.

A parody of experimental video, Ted Mills and Gary Tseng's short mixes Japanese and Taiwanese television, straight and gay porn, and educational films into an insane, heady brew, scored by Dave LaDelfa.

A how-to video from the 90s that teaches a viewer easy techniques to better decorate glass.

A gay erotic masterpiece. The sensual talents of legendary British erotic filmmakers Stephen Bulfield and Mike Esser shine through in this sumptuous feast of sexual performances by eight very hot young men. They're all healthy, handsome, clean-cut guys who happen to share a lovely apartment and eat breakfast in their boxer shorts (or briefs) - followed by a veritable softcore orgy of other morning activities!

Ambika has just come to know that she has failed once again, and she will not be given any more chances. At first, she leaves the city for her home in another city. But very soon the city takes over and her confusions return even more intensely this time.

This short film is made for the "Chopin-Pletnev" disc which marked Mikhail Pletnev's debut as a pianist on Deutsche Grammophon. In the film, we witness Mr. Pletnev's journey, starting from him on his way to studio, through his performance of Chopin's Etude Op. 25 No. 7 in C sharp minor "The Cello" and the process afterwards. One is struck repeatedly by Pletnev's crystalline arpeggiations, the velocity of his passage work, his singing tone, his rhythmic suppleness, and, above all, the grandeur of his sound.

Nadia, Teresė and Ramutė are the three heroines of this documentary. Although they are very different, they are united by their unusual work - for decades they have been making a living by posing for artists. For Janina Lapinskaite, it is not the exotic profession that is important, but the stories that have marked these women's bodies over time. The heroines of the film talk openly about their choice of work, their colourful, albeit difficult past, and their equally difficult present - they bare not only their bodies, but also their souls to the camera.