All Films

A film about the former partisan commander Vilis Samsons.

『原景の配当』Distribution of Unspoiled landscape 1984/22min

This is the opening animation of URACON III.

Found footage and found sound. Badly solarized training films, documentary fragments, speeches of USSR party leaders and rock 'n' roll form a horrifying picture of media pressure.

A young woman submits to superstitious practices. Can sorcery end the life of a human being when it is desired?

In an enigmatically arranged tableau vivant, the painter Christine Schlegel permits the messiahs and other saviours to meet. Their ideals are, however, doomed to failure due to timidity, greed and betrayal.

It seems that Christmas Eve is celebrated in accordance with the tradition. However, the society of the future has different customs: lack of religious freedom and strict surveillance of the society.

The neurotic but perceptive Walter "Radar" O'Reilly joins the police force after the Korean war.

Created in 1984 for the opening of the Computer Museum in Boston, Massachusetts. By Dean Winkler and John Sanborn. Music by Jamaaladen Tacuma.

A couple disengage in silent bordom. (3/4 in. video; color)

A robot sets off onto the road sitting in an invisible car. Along the way, to protect his engine's pistons hidden in his stomach, he drinks some Restore engine lubricant.

Having spent her childhood in Dalian and Harbin in the former state of Manchukuo, Taeko Tomiyama carried within her the conviction: “As an Asian, as a woman, I will begin from the margins of beauty.” Noriaki Tsuchimoto, on the other hand, directed numerous films related to Minamata disease. He confronted the suffering of pollution victims head-on, continuing to convey the harshness of life with unflinching clarity. In an interview, Tsuchimoto once remarked: “Within Tomiyama’s narrative world lies something that could be called her eros, her utopia, her aesthetics of liberation. Why does she persist in creating such dark lithographs on the themes of Chikuho and Korea? And how is it that, while doing so, she can also simultaneously depict a world of such beauty?” This film not only reveals the allure of the lithographs themselves, but also centers on the dialogue between Tsuchimoto and Tomiyama. It is a portrait of two comrades, earnestly pursuing the meaning of artistic expression.

Wanderings in landscapes of urban suburbs leading nowhere. 16mm processed by video in a strangely scintillating and electronic twilight.

Summary of the documentary series 'Ikuska', directed by its promoter Antxon Ezeiza.

Documentary about the dangers of toxic waste and its long-term consequences.

Yellow drops don't want to play with a red ball at first, but they make a good flower together.

Based on the stories of Ivan Bunin "Rusya", "When I first...", "Swing".

Danny is failing in school and is moved to a remedial class. His mother is supportive but his father thinks he needs punishment. Eventually Danny is diagnosed as being dyslectic, but his father needs convincing there is a problem.

A couple enjoys a night of bowling with their friends, until the haunting demon of competition ruins the fun, turning the night into a rampage of Blood Bowling hell.

Presents the implementation of computer-analysis of video-images in contemporary medicine.

In the 1980s, the Canadian Telidon videotex system was not only used for the transmission of text and image information in telecommunications, but also became the medium of choice for many artists. The short film Spirale is one of the “Telidon” works of early Canadian digital cinema. It uses the tool's vector graphics to create dizzying compositions in an op-art style.

An abusive boyfriend learns that his current lady has a taste for longpig.

Every day, the postwoman Manka goes through the forest to the fishermen on a long voyage. And every time an orphan girl, knowing with what impatience men are waiting for news, shouts out outlandish spells. And Manka does not know how to tell his beloved Porfiry that his Lenka was carried away by visiting sailors and forgot about the fisherman...

At Black Range (1984) was shot near the Grampians in Western Victoria, and features monumental monochrome rocks with rainbow shadows and “fringing” in the moving eucalypts, which create coloured vibrations like the filmic analogue of Impressionism. The skin of the film and the rock itself are both living surfaces of mobile textures: lichen becomes electric, pointilist, as the camera fades in and out of focus. The shadows of skinny tree trunks dart like electric blue lightning, veins or eels. Shivering leaves morph into undersea anemones, caressing the rocks in a teasing, sexual way. Somehow, the loosening of Taussig’s “straightjacket of the spectrum” allows for a loosening of the straightjacket of taxonomy as well; classes, phyla, and even kingdoms drop away, revealing an undifferentiated field of vibrant matter in which entities shapeshift. (Tessa Laird)