All Films

YORKY BILLY is set in Ngurgdu (Spring Peak) in the Northern Territory, an area irrevocably disturbed by uranium mining. There, 80-year-old William Alderson (known as "Yorky Billy") reflects on his life in the outback. Yorky's mother was an Aboriginal woman who died when he was three, and his father was an Englishman who spent 45 years in Australia and "tried everything" as a prospector, railwayman, drover and buffalo hunter, often with his young son working with him. After the WWII, Yorky married an Aboriginal woman and worked in various jobs. He and his wife had a large family, and in 1977, Yorky Billy recorded his story and died soon thereafter, and was buried near his father at Ngurgdu. Filmed simply with minimal editing, this is a poignant, elegiac reflection on a disappearing way of life, capturing Yorky's slow and quiet rhythm of speech, his wry humour, and with his weather-beaten face only just emerging from the deep shadows inside his corrugated iron shack.

This film takes a candid, inside look at the world of juvenile delinquency. We are shown the tough existence on the streets of Montreal, but it could be any city in North America. Some boys as young as ten years of age talk about their lives of crime, the things that are important to them, and the hopes they hold for the future.

On Sacred Ground looks at the story behind the Noonkanbah dispute, the well-publicised Aboriginal struggle to stop mining in the Kimberley region of Western Australia in the late 1970s. Presented by a young spokesman for the Kimberley Land Council, the film gives an Indigenous view of the area's history from the early days of European colonisation. It explores the problems of Aboriginal dispossession and loss of identity and the efforts that have been made towards self-determination, economic self-sufficiency and maintaining language and culture. It helps explain Aboriginal ties to the land, the importance of sacred sites and the reasons for the land rights struggle.

The Great American Hobo produced in 1980 features the music of Supertramp's "Take the Long Way Home" documenting the men and women who rode freight trains. Shot in 14 states and culminates with the Hobo Convention in Britt Iowa. Premiered the Independent Eye series for PBS in 1980.

La Zona Intertidal was made at a time when terrorist acts from both state and paramilitary were the order of the day in El Salvador and shaped the global perception of the country. Instead of the agitprop montages that characterized the political cinema of Latin America in the 1960s and ‘70s, this film is dominated by a feeling of deceptive calm: a beach, lapping waves, a man reading in a hammock, two men in conversation... The violence that breaks into these scenes is hinted at more than it is depicted. Only a closing text panel dedicating the film to the murdered teachers of El Salvador establishes a clear political context. LA ZONA INTERTIDAL was shown at the Short Film Festival Oberhausen in 1982 and awarded one of the main prizes by the International Jury. The festival program listed a “Grupo los Vagos” as the author of the film, a four-member collective that had begun working together in 1969 as the theater collective Taller de Los Vagos and later switched to the medium of film.

Using film noir, documentary, and animation, focuses on the offbeat artistic and spiritual theories of Russian composer, Alexander Scriabin. Show how a detective/filmmaker, attempting to cash in on the special effects of inner space, becomes obsessed with the idea that he has been chosen to compose Scriabin's "mystery" festival.

The tradition of working out Judas in a suburb. The doll is placed on the street like a corpse and a bunch of children are faced with the consequences of this innovation.

Strange occurrences in the home of a young man who believes he sees the ghost of his dead brother, in this 1980 short, low-budget, "HItchcockian" horror film, written, directed and originally edited by film auteur, Jose Pelaez.

John improvises a performance for the camera, spinning a bright, pinpoint light on a long cord, around himself in a variety of patterns, against a black background. A one-shot film, shot in one hour, at one frame per second. And with one-second time-exposures, the light streaks are multiplied and more complex by refracting in the lens. A Camera Dance, inspired by John's earlier film Amusement Park (1978/79).

A live, half-hour campaign broadcast for Governor Jerry Brown during the 1980 Democratic primaries—produced by Francis Ford Coppola and staged in Madison, Wisconsin—experimenting with real-time video effects. The production was plagued by technical mishaps (audio failure, on-screen typos, and misfiring composites), earning the tongue-in-cheek nickname “Apocalypse Brown.”

A man falls in love with a cactus at first sight and takes a bite out of it. He takes a bite and runs around the fantasy world. When he is chased by a witch and runs away to the sea, his eyes are filled with the void! The next thing you know, your body shrinks and you're scurrying around like an ant on a stone slab. The next thing you know, your body shrinks and you're scurrying around like an ant on a pile of rocks. First, the movements of the characters are broken down into hundreds of still photographs, which are then colored, and then they are moved one by one in stop motion to create unrealistic actions. In addition to the method of creating unrealistic action by moving each image frame by frame, the film successfully combines live-action time-lapse photography to express the unique perspective imbalance, tropical color design, and obsession of the chase.

A ridiculous and funny man nicknamed Parasolka have ancillary jobs in the circus, which he is trying to do and simulteniously watch everything going on behind the scenes, as well as during performances. Once the actors get into a difficult situation, and to everyone's amazement it is Parasolka who helps them out, thus earning himself a clown job. And then the circus director sees how Parasolka deftly juggles behind the scenes, he immediately realizes to send him to the arena, so he in turn performs with the shows of a juggler, a strongman, and a magician, although he is not entirely successful, but the audience liked him and they were laughing. As a result, Parasolka became a circus clown.

The story of a serial gourd robbery murderer and the police pursuing him is interspersed with episodes from a film director whose motif is based on Ueoka himself.

The first animated short film to feature Varga's clumsy claymation character Augusta.

Jane Campions first short film (Sydney College of the Arts)

"Am I the story I sell myself?" Fragmented memories of a chance meeting are dissected and rehashed.

The nightlife of Praça Tiradentes, in the center of Rio de Janeiro, a traditional meeting place for musicians, circus, theater and transvestites. A poetic observation of a transvestite who sings in the streets every weekend, in the best tradition of popular artists.

Ragyogás is a polyphonic series of studies on film and light; it creates and reshapes cinema’s mythical world and language.

One of the most honoured and distinguished documentaries in Australian film history. Stepping Out draws attention to the talents of people with intellectual disabilities. The group went on to perform at the Sydney Opera House.

A short documentary by Nikos Koutelidakis, about Galaxidi.

Video documentary about a dentist who treats patients with severe cases of fear of dentistry.

Rock Ross' ironically titled, time-lapse record of a 1980s Gay Pride parade in San Francisco is hardly the celebration of a celebration one would expect. By stationing his camera at a jog in the route so that the floats and people head right at us and then veer off at the last minute (and speeding up their movements in the process) he transforms the pageant's erratic asphalt ambling into an anxiety-ridden urban expedition. - Michael Fox