All Films

In Fellini's film Amarcord, an ocean liner emerges from the night and the mists of the water, appears like a mysterious monster, passes like a dream. This video takes up the idea of ​​an unreal "passage" and plays the effect of spectacular surprise that it reveals.

Chenzira's 1979 tribute to dancer-choreographer Syvilla Fort.

About how Bacho and his animal friends re-educated the lazy and sloppy little goblin.

Based on a poem by Blaise Cendrars.

Bittersweet tourist film through the streets of Recife, focusing on the historical barbarism that monuments and postcards hide.

Optical sound film by Guy Sherwin

Women counselling women. Five thousand renters live in the satellite settlement of Scharnhorst near Dortmund. More than thousand of them are women living alone or with their children. A large percentage of them are on welfare. They need help in asserting their rights vis-à-vis the social welfare authorities. This documentary uses the point of view of a 26-year-old single mother of two to document the commitment of the women’s initiative. “In the group, I realised that I am not the isolated case I always thought I was.”

A young family takes their grandmother. After all, the city apartment needs to be furnished with new furniture, which they buy with the proceeds from the sale of the village house. But the son and daughter-in-law cannot find a suitable place for their grandmother in their spacious apartment ...

Two men meet in Milan for 48 hours. They met for the first time, elsewhere. The voice-over speaks of this first weekend and the images are those of the second. The film brings them together and goes beyond them to evoke a city and a passion.

Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his nostrils while a mouth-guard that looks like fake lips covers his mouth. Over the course of 11 minutes he masks his face and covers his hands with bright gear in colours that accumulate to resemble those of the standard reference chart: he puts on orange eye-caps, then a yellow bathing cap; covering his nose and mouth and the gear already there, he dons a black gas mask; a silky black sleeping mask voids his already covered eyes, a cyan blue bathing cap caps the yellow; yellow rubber gloves snap on his hands and forearms; puts on cyan eye goggles, then struggles with yet another bathing cap, hazmat orange, over the other two. A silvery transparent shower cap tops the caps, itself topped by a plastic green helmet. Finally heavy-duty magenta gloves hide most of the yellow rubber. Preserved by the Academy Film Archive in 2008.

Opened by a self portrait, the film offers images of blind violence against women and children and a god killing an ant and with this crime, creating extinction of human race, it shows the images of cultural heroes, from Shakespeare to Einstein, to Mona Lisa and Don Quijote.

A very little man attacks two huge feet and fights with all his power against them until his downfall. While dying, he is still convinced that he is the winner. However, the feet continue running like nothing happened.

Evidence by Caroline Champetier, a director who skilfully illuminates the great filmmakers (Jacques Rivette’s La bande des quatre , Philippe Garrel’s J’entends plus la guitare , Jean-Luc Godard’s Soigne ta droite, and Leos Carax’s Holy Motors ), directs and highlights in a sequence shot, in sumptuous black and white, a pregnant woman in the prosaic ritual of bathing. This "ingenious photographer", according to Agnès Varda, films the obviousness of the body, of gestures and lingers on the little things to take hold of a whole, as in the false triviality of Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles by Chantal Akerman with whom she also collaborates in Toute une nuit.

Short film about fishing

Abstract video art created in 1979. Video and audio by Dean Winkler, Glenn Van Alstyne, Tom Lucke, Elaine Lewis, and Brian Aitchison. Chirp-1 / Quantel was created in two separate effects passes: At the RPI Video Synthesizer Lab an old porno tape (on stock that was donated to us) was processed using an analog Serge modular music synthesizer to sequence the sounds and control the colorization of an analog Hern video synthesizer. The sounds are also inserted into the video, which are the stripes you see, changing with frequency. The tape from the first pass was taken to EUE Video and used to seed an analog feedback loop around a Quantel 5000 digital effects device.

A look at stand-up comedian Bobby Knutt's work at seaside clubs, and his plans for the following year. Bobby details how he got into the business by accident, his inspirations and working practices, and the boredom and tensions involved.

Farocki frequently chooses a single news photo as his pretext. In his film he explains convincingly that 'learning from images' is not so much a question of having power over the image or a consistent subject-position towards the image, which would allow the filmmaker access to complete knowledge. Instead he insists on pursuing photography's separation of reference and discourse, by proving this to be a separation of the subject as well as a separation within the subject itself. [...] - Thomas Elsaesser

At the beginning of every spring, thousands of city residents rush towards their gardens and summer cottages in order to complete the spring cleaning, sowing and planting. Estonians have always been farmers, and even when living in a city they cannot resist the call of nature. Documetary by Vello Aruoja gives a great overview about the gardening culture in Estonia in the 1970s.

When researching the UK labour movement at the turn of the twentieth century, Graham discovers the pioneering socialist and gay rights campaigner Edward Carpenter.

The film tells the story of two extraterrestrial beings (played by Toninho and Guedes) who regularly visit Earth, coming from a distant galaxy. Extraterrestrials pay a visit to the planet, see that the situation is not very good and decide to fix humanity , which reacts through five battles: 1st) The university; 2nd) The black wedding; 3rd) In the city; 4th) Rural battle against bovine resignation; 5th) In the temple of madness. Extraterrestrials, who pass through all these places promoting the Alternative Society, they are able to fulfill their mission of making the Earth a better planet to live on and, thus, return to the galaxy from which they came.

In the forest two gold digger saw a fire nymph, foreshadowing is rich in gold deposits, and had a fight. This greatly angered the nymph. This story told grandfather to his grandson. Suddenly the very same girl appeared in front of them from the flames of the candles, and tease the boy ran out of the hut. After a while the boy again met with Ognevushka, and she invited him to her house. In winter, the old man found out that they had in the house over the potatoes. Trying to earn a livelihood, changing home-made wooden spoons on potatoes, he fails. Then Fedya went to the forest to visit Ognevushka, hoping to take the potatoes. In response to the request Ognevushka lent the boy magic shovel. Which in the same year Fedya with his grandfather comfortably survived until the summer.

Valley Fever shares certain concerns with Beroes' earlier film Recital. Again, she is interested in the locus of individual perception, but is less concerned with emotion than with the bounds of human consciousness. Like Recital, the film is also highly structured and revolves around the reading of various texts. It involves two 'characters', a woman and a man, who, according to Beroes, carry on a 'disjunctive conversation about the effects of illness on perception. While the man reads from a scientific treatise on the syndrome of fever, the woman chooses the words of Merleau-Ponty, explaining her experience in phenomenological terms. They show each other film footage in an attempt to visualise/exchange their perceptions. But ultimately the film confirms their inability to 'see eye to eye'.' In her choice of cinema as a medium of 'exchange' within the film, Beroes also points to the dilemma of the artist and the problematics of communicating one's singular vision to the larger world.