All Films

A young man watches the bikinis and boogie boarders around him but just can't relate.

The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.

Film by Ana Mendieta, 1980

“Breaking in. Patrice Kirchhofer’s Anorexie 4 continues on the path of the narrated narrative (a short story by Chandler) and Décembre 79 on the path of photography. At the end of these two journeys, the film becomes the subject and the trace of the same act of breaking in. In Anorexie 4 the voice shapes the images (the play of chess and of light) and in Décembre 79, shot in the same abandoned mining region, the photos shape the film: chemical deposits, fossils instantaneously striped and imprinted by signs of life and haunted by their ghostly presence. A space of dreary grey, of desolation, which is in a never-ending process of dying because the place, even before being filmed, already went through a vampire-like depletion. In accepting the invitation of these tracking shots of abandoned factories, the spectator is summoned to riverbanks similar to those of Dreyer’s Vampyr and Murnau’s Nosferatu.” Charles TESSON. Festival de Digne. Cahiers du Cinéma n° 314 – Juillet–Août 1980.

Flowers in compression and expansion, blurry and clear, ballet of flowers around which we turn, flowers in final bouquet. A choreography of these fascinating messengers of love.

An experiment transposing a painting by the artist Jacqueline Bosson into film. A particularly delicate exercise which consists of preserving the quality of both the colors and the range of blacks and whites, of directing the gaze to a single part of an ensemble predefined by one of the many factors involved in “making visible”, without turning away from the the fact that one’s attention is liberated from the noises and distractions of the gallery, of the museum, of the world… — different and similar from those the screening room — an inevitability of light.

8mm film by Ohtani Jun

This is a short film by Mirza Idrizović.

A documentary about farmers battling the elements in a remote valley in Kyrgyzstan.

Mexican feature film

Mexican feature film

Inspired by a mime show ("Panem en circenses"), the film is a series of comical situations based on the absurd. Burlesque situations experienced by two tramps in a vague location. They don't know each other but have both chosen to spend the night there. The film tells of them approaching each other, at times being charming, at others jeering and being aggressive.

Landscape and Room opens with a rudimentary line drawing of a landscape on a white screen. A performer enters in the foreground and begins making a line drawing of a room over the landscape drawing that is already there. The performer leaves the screen in the foreground and after a few seconds he re-enters. He then proceeds to use scissors to cut away the drawing of the landscape. The drawing of the room is left on the screen. The performer then gradually appears from behind a large piece of paper as he cuts it away. A drawing of a rectangular solid also appears as the paper is cut away. The performer leaves. After cutting away some lines from the rectangular solid the performer cuts away the drawing of the room. He then reappears from behind as he cuts away another layer of paper that covers the scene. As he cuts the paper away another drawing of a rudimentary landscape appears. The solid is now in the landscape. The film ends with the performer filling in the solid with red chalk.

Explains the difference between fantasy action and the real life action shown on news and sports programs. Shows how TV violence is staged and explains why it is dangerous for children to imitate such acts.

Presents Marlo Thomas leading preadolescent and adolescent girls in an informal discussion about their changing bodies and emotions.

Homage to the basque sculptor Eduardo Chillida.

As she has sex with her husband, she starts to fantasize about cheating on him.

The situation of the Basque language in Navarra.

Life is like a gigantic phonograph record fifty feet across. Or like one of those whirling discs at the old amusement park. You get on the disc and it's spinning and the faster it goes, the more centrifugal force builds up to throw you off it. The speed on the outer edge of the disc is so great you have to hold on for dear life just to stay on. The closer you get to the center of the disc, the slower the speed is and the easier it is to stand up. In fact, at the very center there is a point that is completely motionless. In life, most people don't get on the disc at all. They shouldn't get on. They don't have the nerve. They just sit in the stands and watch. Some people like to get on the outer edge and hang on and ride like hell. Others are standing up and falling down, staggering, lurching toward the center. And a few, a very few, reach the middle, that perfect motionless point, and stand up in the dead center of the rearing whirligig as if nothing could be clearer. (CB)

A highly experimental film which uses a kaleidoscope array of techniques to question the representation of space in film. The film can be read as an existential journey through interior spaces or as a phenomenological inquiry into the relationship between what is seen and the act of seeing.

Free adaptation of Faulkner's novel aroused by the Patrick Henry and Ranucci cases.