All Films

Kino Da! (1981) is a portrait of North Beach Communist cafe poet & gentle comrade, Jack Hirschman, editor of the “Artaud Anthology” (City Lights). Shot in sync with wind-up Bolex.

This film provides a broad overview of Ju/'hoan life, both past and present, and an intimate portrait of N!ai, a Ju/'hoan woman who in 1978 was in her mid-thirties. N!ai tells her own story, and in so doing, the story of Ju/'hoan life over a thirty year period. "Before the white people came we did what we wanted," N!ai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to /Gunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As N!ai speaks, the film presents scenes from the 1950's that show her as a young girl and a young wife. The uniqueness of N!ai may lie in its tight integration of ethnography and history. While it portrays the changes in Ju/'hoan society over thirty years, it never loses sight of the individual, N!ai.

Bedrooms filmed in a Freudian way.

In a domestic setting, two men in suits with rather glassy and listless facial expressions sit at a table with two mocha cakes on it. A classic slapstick element in an experimental setting.

Art film part of the REWIND + PLAY, An Anthology of Early British Video Art box-set.

Young folks from different groups of early 80s subcultures (Punks, Rockers, Poppers) are heading for Wannsee, a local recreation area in West Berlin, where they are getting in conflict with middle-class-citizens. The movie is a collection of short sketches leading to a crazy pursuit and a lunatic struggle of nearly everybody against nearly everybody.

Kren in New Hampshire, New England. Together with friends he lived from the demolition of wooden houses and sale of the wood. Kren was the "nail puller". (Hans Scheugl)

A 30 minute video program by Iasos. "CRYSTAL VISTA" is Iasos' visualizations to four of his own musical compositions. These musical visions take you on an other-worldy journey filled with highly colorful special-effects and heavenly images, creating a captivating and uplifting half-hour experience that remains fascinating even with repeated viewing. "CRYSTAL VISTA" truly transports you on a journey through inter-dimensional spaces.

The love shaman calls for a sexual revolution of the body politic urging mankind into a new love age.

While withdrawing all of his money from the bank to pay for a life saving operation for his Mother, Roy Canteen is attacked and robbed. Taking the law into his own hands Canteen thinks of many different violent ways to take his revenge. After spotting the assailant he proceeds to play out his fantasy.

A model poses in bright primary colours alongside a number of oblique words. Images of a woman rotating wearing long flowing dresses are overlain and played at different speeds.

A character study showing the dissolution of the characters sense of self. The structure is based loosely on a pantoum structure in poetry.

The adventures of a hamster and a gopher.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”

Kathe Sandler’s 1981 portrait of dancer Thelma Hill, a founding member of the Alvin Ailey American Dance Theater.

The characters of the film are folk wooden and clay toys.

1981 Czech experimental short by Petr Skala

1981 short film by Paul de Nooijer and Jerry King Musser

"Esculturas Rupestres" (Rupestrian Sculptures) was made in Jaruco Park outside of Havana. The low relief sculptures that resembled petroglyphs, were influenced by Ana Mendieta’s interest in the indigenous Taíno people of Cuba.

From the series "Portraits" : Pascal Martin