All Films

Poet Bruno K. Öijer is working on his debut album with Brynn Settels

Peter Couchman presents this story, which documents the four days leading up to the overthrow of the Philippines Marcos government in 1986.

SUEUR is one of only two films to be kept in the archive of the Short Film Festival Oberhausen in 8mm format. It was shown in competition at the 34th Short Film Festival Oberhausen in 1988, submitted by director Amor Nagazi, as he recalls it, on his own initiative. The jury of the FIPRESCI International Federation of Film Critics awarded SUEUR a second prize. In accordance with festival regulations, the award resulted in the purchase of the film for the archive. At the time, director Amor Nagazi was a member of an amateur film club in his hometown of Kairouan, Tunisia. SUEUR was his first film, shot on Super 8 with the help of a small team of friends from the film club. Step by step, the film documents the artisanal production of mud bricks, which were once used to build not only the majority of buildings in Kairouan, but also the imposing city wall.

“The beginning of a remake of an earlier work [Soundings, 1979] in which I wanted to extend the reflexivity of each text in relation to the interaction between different physical substances—in this case, sand—and the speaker cone. A loudspeaker fills the screen and I begin to speak, referring to the speaker itself. This is followed by more declarations of what I am doing, ‘…a hand enters the picture….’ A hand filled with sand enters the picture and slowly releases it into the loudspeaker’s cone. Every nuance of speech vibrates the speaker’s cone (or membrane), bouncing the grains of sand into the air. The more I speak about what is happening, the more it changes—or feeds back into—the movement and patterns of the sand."

In four minutes, the delicate and lyrical sensibility of a female filmmaker permeates the viewer's mind in this short film made up of only four shots. On a lightly rainy spring day, the filmmaker arrives at the beach with her camera, and asks two friends to be her subjects, lying on their stomachs on the rain-soaked ground, she slowly zooms in on them as they walk down the street from a low angle. The cut brings back the feeling of the cold ground, familiar to anyone who has ever shot 8mm, and before you know it you find yourself looking through the viewfinder with the artist. A visual diary was casually written with awkward and confident sketches of the landscape and shy narration.

A collection of short shorts, a dozen or so short episodes and gags in 32 minutes. From the hilarious to the thought-provoking, all of the short films have an urban sense of humour, especially the second half, "My right hand, my left foot and the back of my head at the age of 23", which is full of wit and humour, firing like a machine gun. In the latter half of the film, the witty monologue and the rhythmical development of the images are beautifully synchronized, and the light but flexible "23-year-old me" speaks eloquently of his existence. Many of the film's gags are made up of deformed gags about the funny things that happen in the daily life of the author, a student, and the uniqueness of the characters makes this a film that will be loved by many people.

Short documentary about the soldiers who worked in the rear, baking bread for the liquidators. The leitmotif that set the pace for the entire film was the countdown of the metronome, as every minute was extremely important.

When her older sister disappears, she meets the man she left behind every night. When her parents don't come home from work, they sit in the kitchen and have an idle conversation. The man asks her to eat a clam. A woman mumbles, "I have sand all over me", and scours the kitchen floor like a mollusk. The man wipes the woman's neck when she asks him to wipe off the sand. The camera lingers on the faces of the two men and the rummaging in the sink as they mutter idle conversations about sand. This is a dense cinematic space, where the hot, rough texture of the sand makes your whole body tingle. The coquettishness of the woman's hair, her neck, her lips, her tongue, her gestures and her voice, captured by the gazing camera, is an intense eroticism. This is a work of high perfection in which the artist's unique world of sensuality is penetrated.

Motorway, roads, villages of Northern France, Flanders. A man with a Super 8 camera films his route, the villagers and himself. Portraits, self-portrait. As the images unfold a young villager, Josse, is intrigued by the camera’s presence. For the cameraman the lens is an eye with which one films reality, for the villager the camera represents CINEMA, the magic of fiction. Josse accosts the cameraman and leads him across the fields where his girlfriend joins them. The outing becomes their production, with themselves in front of the camera. Games. Gradually diverted by Josse’s enthousiasme the film slides into moments of fiction, until its inevitable breakdown.

Myriam tells her story. Like her mother¸ she decided to occupy a vacant lot to build a house to live in with her children. She constants aims to express affection towards her children, and avoid repeating her bitter childhood due to the harsh treatment she received from her mother and those around her. She wants to harness all her energy — which as a child she perceived in her gaze as having an enormous destructive capacity — to become a leader of her community.

The story of an energetic Russian woman, Tamara Fedorovna who moved to Leninabad in the 1950s and, as a pensioner, became a trainer for a men’s soccer team and performed in the local amateur theater. Then, after three or four years, thousands of Russians would have to leave Tajikistan as would Tamara.

"Narrative Information is an exhibition of four of my short story computer-video sculptures. Abortion, language, relationships, and war are my subject matter. I endeavor to get the viewer involved in my interplay between the simple and the complex, between the child and adult narrative viewpoints, and between the image and the technology that produces it all wrapped up in my simmering dark humor." -CFG

A film by Keith Sanborn

An angel and devil fight for the soul of a drunkard who cannot resist just one more drink.

Short film.

Perpetual motion is the central theme of this video composition in which Bielický connects various physical and mechanical movements in several layers. It is also the first video in which his characteristic style of video collage is fully established.

Doug is a high school teen who has everything: Loving parents and younger brother, terrific girlfriend, and a rock band he plays in after school. Doug also has a drug habit, and all those good things begin to fall by the wayside as his drug dependency and erratic behavior worsen and alienation sets in.

"Money Talks Bullshit Walks is a quote from a prostitute I picked up off Church Street in the winter of 1985. During this time, I picked up and interviewed nine hookers. The tape is an assemblage of this information." -R.W.

Recurring nuclear nightmares.

A singular and poetic evocation of what Alexandria was, a multifaceted city, when it was at the heart of the Arab and European worlds. The men of letters Cavafy and Lawrence Durell are evoked by a few quotes describing the city, scattered throughout the film. The mixture of cultures and languages is the very essence of Alexandria, its inhabitants testify to the memory of a lush and harmonious cosmopolitan city, under the eye of the director's camera...

A tribute to experimental cinema of the '60s and '70s.

The film Les temps des Assassins is not only an extraordinary work, but it is also an extraordinary exegesis of Rimbaud's clairvoyance. It begins with the seer: the reflection of a fight in the glass of her glasses, while the wind moves her hair, how the clouds move, how the duelists move, perhaps the murderers. But "I is another," Rimbaud wrote. To be, to know how to be a witness, the visionary must begin a journey to discover the depth of this "other" which is the self. Meet houses, antennas, clouds along the road that winds fast through the car windows, while the sun beats on the glass, refracts on the glasses, making the visionary's gaze invisible. And then there are the mysterious intermittences: the galleries, "the connections, the passages, the representations", which, according to Novalis, are the landscape of the unknown self. And here fragments emerge that are no longer composed in a landscape: a gun, a face, a head, a body, a mouth wide open in the silent scream, and colors.

Pepsi presents a TV special concert promoting Tina's "Break Every Rule" album and tour. Tina is introduced by “Max Headroom” at the club “Le Zero” in France. The special was actually filmed at Camden Palace in London. 1. Afterglow 2: Intro (Max Headroom) 3: Back Where You Started 4: Break Every Rule 5: What You Get Is What You See 6: Overnight Sensation 7: A Change Is Gonna Come 8: Two People 9: Addicted To Love 10: In The Midnight Hour 11: 634-5789 (duet with Robert Cray) 12: Land Of 1,000 Dances 13: Paradise Is Here 14: Girls