All Films

"A stepladder or book drops its steps and becomes a character that is reduced to two triangles in an inverted position, one with respect to the other, joined by a vertex. A couple of sticks make up arms. The concert takes place in the movement of the concert player's arms. Finished this, there is a flight of the concert performer that ends up transforming into a diabolo that plays on the screen until it disappears." Gerardo Armesto

Jason & The Scorchers play selections from their seminal major-label debut.

A remarkable tribute to Paul Delvaux, one of the great masters of Belgian surrealism of the first generation. Filmed at his home in Furnes, he talks about his women, religion and mysticism, his childhood memories (trams, trains ...). He also delivers reflections on loneliness, the refusal of political engagement. He evokes his interest in Roman history, nature, reality and dreams...

Pauline is a film that explores the friendship of two artists, obliquely, through the exploration of a house, a garden and a painting. The qualities of light and time are used to heighten the properties simple acts and objects may take on when mediated by these two elements. The primary subject of the film, then, is not an event, nor a story, but a sense of an artist's process and her relation to the world.

Camera turns on, the film runs and the wind occurs. A work that follows the wind, chases the image, and goes far to the image of Africa. A movie that talks about the fact that the wind carries words. The music was borrowed from an African folk music album.

A short film warning people against rumor mongering. Rumors can make a mountain out of a molehill.

It's a work that I didn't originally think about showing to people, so I wonder if this is all right ... I can't help it anymore.

A compelling account of the return by a group of dispossessed Aboriginal people to their ancient tribal grounds in the Northern outreaches of this continent.

This film is one of nine animated shorts released on 16mm in the mid-1980s by Benchmark Films as part of the educational “Fairy Tale Series.”

The director tries to understand the mysteries of the Tarot cards. In a restaurant, she and Marcus Vilar talk, in French, about the making of the film. In another scene, always in French, the director says she is unsatisfied with the research. Image from the book Jung and Tarot. Punk couple in London.

Working "in film," interweaving projected parts of the film, the filmmaker approaches a memory and repeatedly indicates how the seeing and the seen are cyclically superimposed in the image. A fast drive, a road cuts through the man's silhouette. The gaze advances through a young forest, following a woman from above who soon reveals her calm, bright face from up close, alternating with that of the man. We advance slowly down a hallway, the woman's face in double exposure. Viewed in close-up, a row of lamps creates sections and perspectives. Hovering lights appear in succession. Steps and a pumping pulsation lead to a car ride, while the white section of the sky bleaches the woman's image.

35mm experimental short film.

The silhouette of a man takes a few steps away from the camera, 'into' the image. His back is to the audience as he seemingly stares into the same view that we, the audience, see around him. There he stands, partially obscuring the image that is now projected over him. His body is almost still in contrast to the jerky, handheld footage which was filmed walking through what appears to be a cemetery. A second scene takes us down a long (underground?) corridor illuminated by strip lights. Throughout the film, the camera is in constant motion, penetrating forward, at times looking out from a moving vehicle. The sound we hear could simply be that of a running projector, but in combination with these murky images, a more ominous, foreboding atmosphere is implied.

The camera enters the "Sunayama Ginza" shopping district in Hamamatsu. The people in the area, the signboards for the "eradication of night butterflies," etc., are recorded in an unhurried manner. Suddenly, however, with the voice of the artist saying, "No more deception," the camera stands in the middle of a rainy intersection. As if to say, "This is my expression," we can feel the artist's fresh breath.

Two girls fail the entrance exam to a public high school and are forced to enter an all-girls school. A slapstick comedy about two girls who make a bet to see who will get a boyfriend first. The daily lives of the girls are depicted in an amusing manner, almost in a dotsuki manzai style. The sheer energy of the "life-sized girls," played by the author herself, breaks through the fiction of the story, and the dynamism of their bodies and words is very refreshing.

On a hot summer day, a camera climbs up a tree after hearing the unusual cicada cry, and catches a duel between a cicada and a praying mantis. Not wanting to miss the moment, the camera clung desperately to the tree, trying to get as close to the target as possible. The camera's breath is vividly conveyed on the screen of the same recording, and along with the tragic cries of the cicadas that have fallen prey to the mantis, we are forced to experience three minutes of tension. At the end, the artist's bloodied leg is painful.

In a district of Niamey, in Niger, craftsmen and consumers save all that is possible and "make new with the old."

Mixed-media installation with tape slide. An examination of the historical legacies of the British Empire and the impact of these legacies within the contemporary context.

A bear tries to catch a fly with disastrous results.

Integrates footage from Fritz Lang's 1926 Metropolis with choreographed movements by Jonathan Hollander and his dancers. Constructivist music composed by Varese, Mossolov and Honneger complements and heightens the special effects used in the production.

Short film by Shin Harada, Single-8, produced in 1985. This work was produced under the condition of a 3-minute frame for the exhibition of the event "First Pictures Show" in the Department of Imaging, Osaka University of Arts.

Featuring the following pieces: Self Portrait, Popcorn, As I Said, Skippy Peanut Butter Jars, Childhood Logic, Variance 3, Feedback, Voice, Trees. Soundscapes on many of the films were made in collaboration with Mimi Shevitz.

This U-matic video incorporates a number of frequent images from Wada's oeuvre: a camera advancing down a colonnaded pedestrian walkway beneath an elevated train line, the figure of a woman with her back to the camera retreating down a street toward a vanishing point by walking or running, and various seascapes. These scenes are spliced together in seemingly random order, sometimes inserted into each other or reshot through close-ups of video monitors. At times the footage is so heavily mediated and re-mediated that images blur into shadow and light, disappear into CRT phosphor dots, or shift hues and patterns from oversaturation and noise. A soundtrack by Hideki Yoshida accompanies the entire sequence, featuring echoing electronic patterns and long tones interspersed with ambient sounds of traffic and beachfront waves. This work was first screened at the Worldwide Video Festival in the Kunstmuseum Den Haag, the Netherlands, in 1986.