All Films

A Film by Hideaki Sasaki

Short animated dance film, the first from a series about the street-sweeper Bala, is set in Paris where Bala meets a spider, a street-sweeper and a green dancer.

Similar to the work of Martin Arnold, this outré and charged video-work employs footage from a Stroheim vehicle with film of a woman sexually straddling a mechanized pommel horse to suit its own message.

Our documentary traces the artist Robert Mallary’s career from his early interest in art and technology in the 1940’s through his pioneering work with mainframe computers, vector graphics, and computer sculpture in the 1960’s and early 70’s to his later collage work using a personal computer system. This documentary explores Mallary’s concept of a “systems” approach to art in which he integrates the physical process of assemblage with electronic process of computer graphics. Robert Mallary was born December 2, 1917 and died February 10, 1997.

Young Joey imagines he is flying as he runs down the steep hills around his rural home. Eventually he grows up and believes that he just imagined flying. But, one night, with his daughter, he will recall this skill at an opportune moment.

Documentary on cartoonist Murray Webb.

A new kind of mutant alien comes into existence on a blue moon and is persecuted by the original aliens.

A "letter film" in the form of a monologue addressed to Mayu, the eldest daughter of a cousin. Dear Mayu. I was very happy to see you after a long time. And then the filmmaker begins to talk about her own experience. Two years ago, when I had a lump in my breast, I went for a cancer check-up. Two years ago, when I had a lump in my breast, I went for a cancer check-up, which was the first time I saw my vagina and womb. The screen inserting Mayu's image playing by the river into the artist's image during the examination expresses the anxiety and loneliness of growing up and the awareness of one's own sexuality that lies ahead. The anxiety that Mayu feels now is something that the author herself felt in the past.

A story of two couples that begins in a watch shop. Ishikawa, a cook, and Iwamoto, a waitress, work in a spaghetti house. During a break on an empty embankment, the two have a rather absent-minded conversation. Iwamoto, is there anything you want? 'Well, a hoover...' Meanwhile, Shinichi and Chika are about to rob a bank. Shinichi and Chika are about to rob a bank, and they take a Polaroid photo of themselves for what might be the last time. Chika is worried: "Will I be able to take a bath every day in prison? Their stories proceed in parallel, as they spend the same time in different places. The only thing they have in common is that they both give watches as gifts. The only thing they have in common is that they both give a watch as a gift, a gift that both couples will never forget. One is soft pastel, the other a harsh primary colour. The artist's sensitivity in choosing the colours to suit the story conveys the pure emotions of the lovers of the 1990s in a warm atmosphere.

The film is a documentary-style drama about the search for OGATA, a friend from the film club at university who disappeared before graduation and is now missing. Carrying a video camera, the protagonist visits his old friends to find out what happened to OGATA. It seems as if his purpose is to go around declaring that he is looking for OGATA (who everyone wants to see). His friends are disgusted and tell him to "grow up". Eventually, the protagonist finds out that OGATA is in Kyushu and goes to see him with his camera. Seeing him for the first time in a long time, OGATA begins to talk about the reasons for his disappearance and his current life. This is a story of self-discovery through the act of searching for a friend. The film is as close to a documentary as possible, but it skillfully approaches the psychological structure of the protagonist, a moratorium man.

Two young rubbish cleaners are working in a deserted high-rise before dawn. A middle-aged businessman walks past them, deliberately cracks open a bottle of alcohol and walks away. They stare at him with dark eyes, still feeling the way they did a month ago when they found the dead body of a woman. As one of them picks up a bottle of wine, the other finds a plastic bag in the pile of rubbish, which seems to contain a cat.

It's Sunday morning. A boy is drinking tea in the kitchen. Next to him is Maggie, the black maid. He drops his cup on the floor and is about to sip from Maggie's cup when his mother enters the kitchen. Without saying a word, the mother takes the cup Maggie handed her and makes the boy brush his teeth. The boy was curious about Maggie. Eventually, he went to Mass with his mother, and while praying, he saw a scene that was neither dream nor reality. Standing at the entrance to the all-white chapel, the boy forced Maggie's hand and invited her in... The author, Matine de la Harpe, is a South African woman who used to make documentaries for television. The film has a professional feel to it, with appropriate camerawork and a condensed structure. Her ability to get her message across in 10 minutes is impressive.

I am a university student who is about to graduate. I'm a university student about to graduate, but I don't want to get a job, I just want to be on my parents' payroll. The only thing I can think of is "working is a bad word". This film is a re-edited version of the 70-minute version completed in 1990, with additions and deletions. The unique tempo of the dialogue and the unhurried direction create a humorous world unique to director Sabu that no one else can imitate.

In order to start a new love, there is a love that needs to be redone. One day, Riho, the girl he thought he had broken up with, comes back with a withered sunflower flower. Yuji is confused, but he accepts her, but Riho and her friends have no memory of their breakup. However, not only Riho, but also his friends have no memory of their break-up, and events like déjà vu begin to occur around Yuji. When Yuji realises the truth, the sunflowers are in full bloom. This light comedy depicts the steps of the protagonist as he climbs the next step in his love life by redoing "the love he wanted to cherish more", in the flow of time from the present to past to present. The director's sense and playfulness can be felt in the supporting characters, including the protagonist's beloved car, which does not listen to him easily.

One day in early summer. Yoshiko, the shy older sister, and Kana, the active younger sister, are following Sawada, a university student with long hair. He is the boy of Yoshiko's dreams. Kana is left alone with Sawada, who is looking for a notebook that fell into the river, and starts asking him questions. When she is left alone, Kana starts to ask Sawada about his notebook, which has fallen into the river, and Sawada is taken aback by Kana's frankness but joins in the conversation. When Kana approaches him to tell him about her sister's feelings, he becomes reluctant to leave her side. As they repeatedly argue, their hearts somehow grow closer.

What colour is black? What colour is white? Hideo, who has been blind since birth, likes to have his wife Izumi recite Rimbaud's poem "Vowels" to him. On the day of his eye operation, when the bandages will be removed in three days' time, he asks Izumi to recite the poem in a state of heightened anticipation and anxiety. Rimbaud's poem, which begins "A is black, woo is white, ae is red...", was the starting point for this work, which confirms the "seeing" in everyday life: explaining a painting, watching a video, going for a jog. Gradually, even for the "sighted" spectator, ordinary scenery such as a wire in the sky or a vending machine at night begins to look beautiful. It is as if the "will to see" is the reason why we "really see".

Rebellion of the Flowers tells the story of a gardener, Jan, who “understood nature’s needs” and worked hard to grow and care for his plants. He protected and looked after his flowers, providing them with “love and gentle care.” He took great pride in his work and, as a result of his labor, felt “filled with purpose” and “close to God.” However, Jan’s love and adoration of the flowers transforms into a distortion of his power, as he becomes jealous of the flowers bowing “under the intense authority of the sun.” Jan’s body reflects this internal transformation, and he becomes a looming totalitarian figure demanding the obedience of his flowers. When he realizes that his shadow can block the sun, the flowers rebel and twist around his body, drawing him into the earth. The next morning, the sun comes out, and a “sparking and sweet smell” (perhaps Jan’s body transformed into metaphorical fertilizer) mixes with the natural perfume of the flowers.

The animated short shows how fate can determine the decision making process, even at the highest levels, where one would expect responsibility and careful reasoning. It does so by lightheartedly exposing the supposed argumentation as nothing more than the result of an absurdly complicated and haphazard Rube Goldberg-like contrivance.

The essential party rave video. A unique audio visual rave experience featuring extended mixes from the UKs top rave DJs.

The issue here is "Black Women" and the beauty industry; and women in general as objects. Beauty is not what we are, it is what we are sold. Beauty is a commodity. Black Women are further taught that no matter how hard they try they can never buy into this market, because to be black is not to be beautiful. The women in the tape share their experiences in trying to be beautiful.

Christian character growth requires learning to grow and to apply God's principles of love, honesty, and forgiveness.

Second of the Divertimento.

Made in 1992 for the White Gloves Film Festival in Melbourne, Operation Camerahead parodies the lengths the incoming State Government of Jeff Kennett will go to to raise funds to pay off the inherited public debt from the previous Cain-Kerner Labour Government.