All Films

Using the steel of a woman's face and eyes as a basic motif, the surprising world created by the free relationship between one frame and the next is amplified by the violent collision of unintelligible female voices, etc., and directly affects our perception. The film is not theatrical, literary, or pictorial, but aims to be cinematic, and is never tied up in real-time and space, and for this reason, it has an interest not found in tested and unerring films, and not found in traditionally accepted and conventional films.

One day at a high school, the headteacher suddenly announces that a draft is to be imposed at the morning assembly. The headteacher suddenly announces that there will be a draft. The idea that a school is like a nation and that one must have the military power to protect one's own school could be a satire for the sake of satire, but as in the episode where the principal is a Chiba native, the term Chiba native is used as if it were a racial term. The film maintains the quality of the gags that generate laughter, as in the episode where the school principal uses the word "Chiba-kenjin" as if it were a racial slur, making it an excellent comedy.

The war has been going on for some time. Every day, Take Five, a guard protecting the deserted border district of Firebird, sits alone by his radio. It doesn't matter to him what's going on in the war front. His daily routine is to enjoy a game of radio poker with his unknown colleague on the other end of the radio. Marina, a young girl who vaguely believes in the happiness of the phantom city, comes to the border to board a refugee ship bound for Shanghai. However, her future is crushed by a ruthless gunshot... Fear and a sense of danger in a controlled society where dreams, hopes, and cravings for freedom lead to death. The hard-boiled narrative, which telegraphs the need to lament, is very stylish and wonderful.

A melodramatic love fairy tale about a man and a woman in love who are separated after graduating from high school, one in Tokyo and the other in Nagoya. They search for each other amid various incidents such as incest, unemployment, and an encounter with a celestial maiden. The story is a melodramatic love fairy tale. The dialogues, tools, and ideas are all deliberately fake, but the fact that the entire film is dedicated to this makes it even more compelling. The space-fantasy ending is also enjoyable, as the nymph who fails to separate the two lovers and win the man bursts her beloved earth like a balloon, and the two become the creatures of a new planet. The original theme song by the two in a musical duet over the scenery of the new planet at the end is a highlight of the film.

A friend's face illuminated by a bare bulb. A breakfast table. A woman taking a photograph. A woman's face as she smokes a cigarette. A woman in a nightgown. A dinner table at night. A scene from a car window. A naked woman tying her hair in front of a mirror. A woman frolicking in the sea. A woman drinking alcohol at night... As the title suggests, this work is made up of fragments of images that the artist took with his camera from time to time during this period. The material is limited to the artist's surroundings and the people around him, and the people are aware that they are being filmed, looking at the camera or smiling at the camera... In other words, they are looking at the artist behind the camera or smiling at the artist. The film records the gaze of the artist as well as the gaze directed at the artist. This is a valuable work that makes full use of the advantages of 8mm home movies.

Two girls walk down a snowy street on their way home from school. They are residents of "Mahoroba," a place hugged by mountains and sheltered by snow. Winter, the girl in the grey coat, freezes her fingers in the falling snow to make a cold white tower. The girl in the yellow coat, Spring, is staring at her from a little distance. The winter girl in love with the snow is forever innocent. She will remain closed and eventually die. The girl in spring is saddened by this and destroys the winter girl's "mahoroba". The winter girl learns that she cannot resist the changing seasons. The day of adulthood is coming, but the innocence of Winter's youth prevents her from degrading herself, even to the point of death. The spring girl hugs the winter girl's shoulder. The colour of red blood can be seen through the cheeks of the girls. This is the beautiful myth of the girl's misery. Mahoroba, caged in the snow, will eventually be forgotten one day. Somewhere, the birds of spring are singing.

From the introductory narration to the title backdrop where Sayuri Yoshinaga sings, "A cute bud becomes a flower, and even after the flower falls, the truth remains. This is the intro to the song where the three completely different moods are perfectly connected. The girl buries a sunflower seed and a doll called "my baby" together in the ground and takes revenge on the other young man. In spite of this, the screenplay is not at all realistic or tragic, which amplifies the cruelty of the fairy tale. The cruelty of the story is amplified.

Based on a novel by Akagi Motoko; a physiological literary world written by a 20-year-old woman for a radio drama. While a girl misses the last train and spends the night in a phone booth, the words she speaks into the empty receiver impress us with her pregnant tenderness rather than the sadness of her separation from him. Gradually, as we see the gaps in her life, the death of her twin sister when she was a child, her desire to be independent from her mother, and the fact that she really misses him, the movement of images becomes the movement of emotions. The phone booth that is supposed to protect her from the rain looks like a womb, but it is actually cold. When she realizes this, the morning arrives.

Snares and worms live inside a pinhole camera. The film follows their narrative as they dream about everything. The camera, which has no lens, greedily shakes its head and tries to collect all the light in the world. Suna is not satisfied with the light that comes through the pinhole, but wants to turn his own eyes into a pinhole, and wants a landscape that is directly burned into his brain.

This film explores the social, psychological and cultural factors that contribute to violence against women regardless of ethnicity or economic background. Survivors, safe house administrators, counselors, police officers, and male abusers in counseling explore the many factors that contribute to the pervasiveness of this tragic aspect of American family life. Shot in battered women's shelters, urban and suburban neighborhoods, counseling centers, and even in a county jail where a woman has been incarcerated for the murder of her abusive husband

Wake Dream is an experimental combination of collages, posters, and a variety of objects. Walsh's use of sacred and modern music enforces a subtly persuasive work.

A lateral tracking shot is repeated. By reversing the reel during the shooting of the second strip of double 8mm film, movement is identical to the first shot and the two opposite tracking shots are combined on the screen, which gives the film the appearance of a cylindrical unwinding. Blown up to 16mm.

Video focuses on five vital elements of effective communication and delineates the responsibilities of the message sender. Cover such topics as concise expression, timing and feedback.

Through the use of graphic animation this film portrays in a humoristic style, the historical evolution of the land and watermass called Pointe Pelée National Park.

The story takes place among a group of toys: the naughty Yuanyuan lost the shuttlecocks of two girls. In order to compensate for the shuttlecocks, he found chicken feathers. With the help of the robot, he caught a rooster, plucked the feathers and gave them to the little girls as compensation, but the two girls lost their shuttlecocks. The girl thought she shouldn't take the feathers, so she gave them back to the rooster.

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A man with a black flag in his hands leads a large group of people. The masses obey the leader's commands despite the fact that he is leading them into an abyss. However, the flag he carries is tied to a tree and from the collapsing table only the leader is saved, climbing the flag.

With all the native wit, rib tickling humor and ability to see what makes the South the South found in the literary classics of Southern writers like Mark Twain, documentary filmmaker Stan Woodward helps us discover the common thread that connects the South’s people across all social, economic, political and racial boundaries – Grits! “Grits is us” - or, if we are to be grammatically correct, “Grits are us” - could easily be the title of this uproariously funny and at the same time insightful and poignant personal documentary.

In Upsidedown and Backwards, two fairy tales — The Frog Prince and The Boy Who Went Out to Learn Fear — are told simultaneously, one backwards and one forwards, each interrupting the other. Jonas' ironic use of visual symbolism further inverts the structure and content of the fragmented fairy tale narratives, creating multiple, mirror-image reversals of the texts and their meaning. The inverted and mixed-up tales, which are intercut with Jonas' ritualistic performances, merge into a composition of transformation and sexuality that evokes the tangled subconscious of male and female desire. Jonas performs wearing a veiled doll face as she manipulates childlike objects or partners a skeleton in a danse macabre. Charged with the sublimated fears and fantasies of childhood, the tape's imagery mirrors the fairy tales in its fusion of innocence and horror, dream and nightmare.

One of Recher’s earliest films, Teyibahw shows the young artist in full control of his medium – film, performance and sound. The message of the film may be hard to define, but his engagement with the mysteries of life pushes a surreal view of the artist’s activities within the confines of a small room.

Short film.

8mm film by Swiss artist Roman Signer.