All Films

The film, shot in 1978, documents the experiences of Palestinian women who speak about the horrors of life in the occupied territory and displacement, as well as resistance and love for their country. The film is titled Jafra, which suggests it was made in honor of solidarity with the Palestinian people. The word “Jafra” has been used through film and cultural resistance movements as a metaphor for Palestine itself – idealized, beautiful, longed for, and now lost or in exile.

Digitization within the scope of the project “FILMar: Digitization of cinematographic heritage”. Landscape, tradition and development of Porto Santo.

A young veterinarian arrives from the city for his first job at a sovkhoz. The cheerful hippie-like young man clashes with the locals who take him as a stranger. The film is a combination of somber naturalism, lyricism, a dash of naive sentimentality and a deep sense of sovkhoz life in the early 1970s. Based on Riho Mesilane's short story "The Veterinarian's First Week". As Mesilane fled to Vienna at the end of the filming, the film was banned and released 13 years after its completion in autumn 1991.

With Babies and Banners: Story of the Women's Emergency Brigade is a 1979 documentary film directed by Lorraine Gray about the General Motors sit-down strike in 1936–1937 that focuses uniquely on the role of women using archival footage and interviews. It provides an inside look at women's roles in the strike. The film was one of the first to put together archival footage with contemporary interviews of participants and helped spur a series of films on left and labor history in the US utilizing this technique. The film was also important in helping bring into view the history of American women being active in the public sphere, particularly in union and labor actions. The film was, further, ground breaking because it was produced and directed by women. It was nominated for an Academy Award for Best Documentary Feature.

Conceivably the best of all of Breer’s films to date – has more to do with figuration, according to Breer’s formulation regarding titles with letters or numbers. This becomes clear right away as the title letters are intercut with a flurry of fish swimming past the frame lines, which are made all the more literal through the associative chain established by a snippet of Schubert’s Trout Quintet heard on the soundtrack, along with footsteps – which continue over a profusion of other shapes, colors, and objects, including the title letters again. -- Jonathan Rosenbaum

An animated experimental short film using charcoal and pastels to create Cubist and Art Deco-inspired designs evoking the curiosity, grace and beauty of two cats in constant motion.

Squires of San Quentin is a 1978 American short documentary film produced by J. Gary Mitchell. It was nominated for an Academy Award for Best Documentary Short. The film was shot in San Quentin State Prison and depicts "The Squires," inmates who attempt to convince troubled children to avoid criminal behavior.

Short experimental animation from a trio of talented knob-twiddlers.

3-colour separation film.

An animated vignette about the role of Thomas Spence in the formation and demise of the Republic of Manitoba at Portage la Prairie in 1867-68.

Action - A master and his student are on the trail of a traitor. They are confronted by his Family and have to fight, and the master is injured.

Sun Tunnels documents the making of Holt's major site-specific sculptural work. Completed in 1976, the sculpture features a configuration of four concrete "tunnels" 8 feet long and 9 feet in diameter.

A man commits suicide by electrocution in front of his camera.

Inspired by Simone De Beauvoir's writings Stephanie Beroes' film Recital addresses the state of 'woman in love', a situation fraught less with ecstasy than with risk and pain. Recital is a highly structured film. Each section involves a woman, situated in some external local, reading a letter or other text. It is clear that the women are not the authors of what they read. The first text is a letter expressing the pain of unrequited love, the abyss of frustrated passion, however read in a monotone with no peaks of feeling. This pattern of love letter reading is repeated with several other readers: one breaks up laughing when she comes to a passage: 'Oh, yes, I love you, I love you.' Clearly the subject is not one of true comedy, particularly since the letters recited are ones Beroes once earnestly composed. Beroes' goal, however, is a kind of distanced deconstruction of the experience, in an attempt to view it with the lessons of knowledge and time.

"Afternoon idyll with Nancy Frumkin."

Part of BFI's "National Coal Board Collection".

Spectrum and prism divide the screen; whites and light, etc. "Out of this purity comes all colors. I've always been attracted to refracted light and prismatic phenomena" says Bernard. For Richard Devereaux. Super 8, silent, non-narrative.

A young and shy dragon lives in the forest. One day the young Miguelito stumbles upon the dragon. Together they travel to a nearby town in despair. The Bord of Happiness has been stolen by a mean witch! Together, Miguelito and the dragon try to free the Bird of Happiness.

16mm short from 1978. Preserved by the Academy Film Archive in 2011.

The constant vibration of a still image grwo twisted comment on what is moving image. The film makes an anti-nuclear statement, combining photographs of birds in flight and of A-bomb clouds, with constant vibrations.

“The three parts developed over a year period of intense study during the mid-1970s. It sort of began and ended my dependency on “high-tech” equipment to make films and led me through the equally intensive parameters of what motion picture film could reproduce on a visceral, detail oriented level. In contrast to the high end 2K digital technology used to restore ‘Manhatta’ and 'Ballet Mechanique', I learned filmmaking decades earlier on a 35mm Oxberry beam-splitter, multi-head, aerial-image bi-pac optical printer. A dinosaur by today’s standards and all hand operated prior to the advent of computer-assists, this machine was precise and exact to the frame. ’S&J: Pt. 3' took 26 hours to shoot straight thru without one mistake.” —Bruce Posner

To come back to abstraction, I have a feeling that colour varies in my work between two aspects: the colour-object that comes from the sensation of an object, in this case the film strip, and the opening. This colour-object permits the transporting of objects into space, to explore the space of the screen in the theatre; this is what allowed me to develop Liminal Minimal (1977) by enlarging the space of projection with two projectors and, taking into account that the vertical strips evolve on a black background comparable to the darkness of the theatre, I was able explore the whole space of the projection with the coloured strip

1978 Spanish experimental short

The visual "degeneration" of the image ... through successive rephotography is paralleled by the compression of verbal information to the point of its loss of legibility; yet, both the "degenerated" sound and image are perceptually engaging, even in the most advanced stages of "degeneration". It is obvious why the film has its title, because of the strategies of its coming into being, but, paradoxically, at the level of effect, its dynamics arise from its "Episodic Degeneration".