All Films

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Roofs of tin and tile, passing by trains and cars, walls of modern buildings – surfaces of solid objects and those of soft, such as water – sunlight evenly shines on both those surfaces. These lights change into various expressions with the characteristics of the objects they reflect on. By controlling light, Hirata exaggerates the reflecting rays. This act purifies the light itself and is solely an attempt to abstract the world of vision that is formed by the reflecting of radiant energy. The power of the beam is relative to that of the filmmaker's gaze. The rays eventually gather, become a mass, and repeat intense expansion and contraction. At this moment, Hirata, using light as the medium, is facing this world with complete precision.

A single-channel version of Kubota's installation of the same name, Rock Video: Cherry Blossom is a lyrical fusion of nature and technology. Branches of pink cherry blossoms etched against a vivid blue sky are the starting point for this sensual visual haiku. Through a fluid application of electronic processing, Kubota layers, digitizes, slows, colorizes and ultimately abstracts the cherry blossoms, creating poetic transmutations of space and image. The mesmerizing and unexpectedly witty confluence of serene blossoms and energetic imaging effects—the transformation of the organic into the electronic—is quintessential Kubota.

Holy Week, in Spain, stays a very popular festival, despite its ancientness. In this experimental movie, I filmed Holy Week in Sevilla, because it is amazing and queerish. This film is an impressionistic view on sacred processions.

Short film called "Memory and Tribute" (1986) with scenes from the film "The Night of the Pencils" and the testimony of Pablo Díaz.

Lovely renditions of classic children's songs, nursery rhymes and lullabies fill this special Kidsongs program. You'll enjoy introducing your little ones to beautiful songs like Paul Simon's "St. Judy's Comet," The Beatles' classic "Goodnight" and Crosby, Stills & Nash's "Our House." Ease your young one's transition from a busy day to bedtime with these gentle songs.

Meticulous stop-motion techniques, brilliant set-design and an eerie percussive musical score distinguish this unlikely mini-epic about a showdown between a Japanese homebody and a volatile magenta-haired invader.

A lyrical look at a challenge shared by people of all orientations across time: the lesbian break-up.

100-year-old storyteller Khikmat Rezo who performs Tajik epic-songs, the Gurugli, witnesses and outlives the establishment of Soviet power in Tajikistan.

It focuses on the struggle of seamstresses whose workplaces in Mexico City were affected by the devastating 1985 earthquake and exposes their employers' refusal to pay fair compensation.

A trio of pandas help a pair of human kids in a race to recover the pieces of a pyramid of power before a cosmic villain does.

Realized in 1985, this film is a Brazilian joint effort in honor of The International Year of Peace, 1986. 30 animators contributed to it, and at that time, those are almost all the Animation artists in Brazil.

The Pride intercepts a message to Saw Boss declaring the Planet Kyros deadly to Monster Minds. A weapon there turns everything to crystal. Jayce leads everyone to the planet to find this weapon; but upon landing, he discovers it is a trap set by Saw Boss. The planet's bloodstone is being sucked dry of it's energy by a spider. Without the bloodstone's power the planet turns to crystal. Everyone is crystalized, except for Jayce who manages to stay one step ahead of the process. He destroys the spider and gives the bloodstone his strength to return the planet and people to normal.

Based on the life experiences of photographer Horst Sturm, the story of Kollwitzplatz in Berlin is retold.

Oliver Knussen's operatic adaptation of Maurice Sendak's classic picture book. Designed by Sendak for Glyndebourne's stage.

The director asks straightforward questions in a phone call to the lead architect of the district of Lasnamäe, Malle Meelak. The topics include the bureaucracy, planning and living quality in the brutalist district of panel houses. He gets surprisingly straightforward answers because Meelak doesn't know that the call is being recorded. Later, in a public interview conducted in front of the camera, Meelak's answers are quite different.

Originally shown as part of Channel 4's series of shorts 'Women Call The Shots' on UK TV in 1986. The ingredients of animation are a motorcar, a dressmaker's dummy, and a glass of brandy. Out of the frying pan and into the fire goes sex and politics. What then is cooking?

Film of "El Clú del Claun", directed by Claudio Caldini, which opened the show "I'll make you pay for this...!", from 1987. Shot at the Centro Parakultural, Buenos Aires, Argentina.

"The conceptual and minimalist aesthetic seen in this film refers to the more complex metaphysical and alchemical transformations which occur when silver is exposed to tungsten light. These currents of light, like Daniel Burren's striped conceptual art, refer to the basic nature of representation while attempting to resist and transform traditional viewing habits or consumption. 'Current' is a beautiful meditation on these realities." - Maria Insell

VO/ID juxtaposes two separate texts, one in French and the other in English. The texts question art and experimental cinema, the role of the market in shaping aesthetic criteria, and current politics... In each of the texts, words common to the other language appear, creating an indeterminacy of the word to this or that speech. This indeterminacy is increased by the many word games created between the two languages. This results in a double reading: vertical and horizontal, favoured by the word for word. The exposure time of each word depends on the rhythmic of each language, but their appearance in white or black is not subject to it. Faced with these texts, two sounds intervene and otherwise disturb the concentration required by the projected texts. The horizontal reading of both speeches is often in clear contradiction with their meaning. This third visual discourse is playful, brittle, mocking the seriousness of the discourse(s).