All Films

A story about a gullible turtle and a sneaky scorpion.

Exhibited at the fourth edition of the Salón Atenas in Bogotá, In pulso was one of the first video installations in Colombia. To make it, Llano-Mejía visited the Universidad Autónoma Metropolitana's physics department to undergo an electrocardiogram, a procedure in which electrodes attached to the body send signals to a machine known as an electrocardiograph, which records the heartbeat. The artist recalls, "A doctor provided me with an electrocardiograph, which I placed on a small table next to a chair adjacent to the wall where my work was. The idea was for viewers to take their emotions with them in the form of those cardiac images." In this work and in others in which she used brain scans, Llano-Mejía interrogated the subtlest, and the most basic, signals that science and technology use to capture signs of life. Rather than presenting a traditional self-portrait, she instead proposed a subjective approximation of her persona through scientific means.

This film is a reworked version of Olle Hellbom's 1959 film with the same title.

“The difference between a computer and people is absurdity”: this phrase, one of the first heard in Matheo Yamalakis’s film, is the key to a documentary that unfolds like a joyful revelation. Yamalakis was a sensitive filmmaker whose oeuvre is still largely unfamiliar to the inquiring viewer. His camera wanders around Ios in the summer of 1976, freely, almost associatively recording aspects of a Greek island perched on the cusp between a traditional, pre-modern world and a sweeping shift in mores. Therein lies the absurd, bitter comicality of this perceptive portrayal of the island’s microsociety, which covers everyone: grotesque local dignitaries, storytelling taverna jokesters, cunning small shopkeepers, naïve tourists, young women crushed by the small-mindedness of provincial life. All are woven together in the most effortless, tenderest way, crafting a kaleidoscopic portrait of the Greek archipelago, timeless in its conception and power.

Protection In The Nuclear Age (1978, 24min) 16mm restoration by A/V Geeks. An exploration of the reality of potential nuclear attacks on the United States with an emphasis that survival is possible. It outlines key strategies for protection during a nuclear emergency, including recognizing warning signals, taking immediate cover, and understanding the effects of a nuclear explosion. The film stresses the importance of preparation, including knowing evacuation routes and creating a family protection plan. It also highlights the significance of mass, distance, and time as defenses against radiation, and encourages citizens to stay informed and ready in the event of a crisis.

The daily life of two families from Nezahualcóyotl.

This documentary presents a story about the day one hundred and forty-seven deadly twisters swept through Kentucky, Ohio, and Alabama. The funnels devastated large portions of eleven states, taking three hundred and seven lives in the United States and eight more in Ontario, Canada. It includes extensive footage of the tornadoes actually striking Louisville, Cincinnati, and Xenia. It also shows how early warning, advance preparation, and coordination in emergency operating centers have helped to save many lives.

The 2nd short film as part of the Magica series dealing with pre-cinema. In the 18th and 19th centuries, optical views were shown in optical boxes with magnifying lenses. The showmen organised a real spectacle, with a barker, music and sound effects. The views played with light (transparencies, perforations). A series of engravings shows the public's enthusiasm for these shows. The second part of the film is a reconstruction of such a show. First, there are views of Paris, Venice, Constantinople and Versailles, followed by various disasters: plague, floods, fires and shipwrecks.

King Lorenzo was in trouble: the echo had disappeared from his kingdom. It all happened because his neighbor, King Florindo, had ordered the mountain — the one that reflected the echo — to be destroyed. The quarrel quickly escalated, and both kingdoms prepared for war. King Florindo’s son took command of his father's army. But King Lorenzo had no sons at all — only three daughters. And then...

A black/white world, slow heavy labor, each frame crossfaded into the next.

An associative linking of erotic and pornographically suggestive transformations, whereby the unity is preserved by placing the action in a frame.

This film explores the transformation of an image from color negative to color positive on one film stock. “The Still Life“ was painted its color negative during the filming and then the exposed film was processed and printed on color negative printstock.

A terrifying reflection on the urban tragedy of the future.

Goldstein's landmark 1978 rotoscopic animation. Often played on a loop. 16mm, color, silent, 19s.

Second film of the series, from a few images - some photocopied - and a soundtrack full of noise (of war) and fury - the Vietnam War to be precise - guns, aircraft carrier take-offs, noise from napalm bombs, hair-dryers and zippos lighters. The horror ! The horror !

Re-enactment of a mellow evening with friends, in which a static camera, synchronous sound, a shiny cook pot, and an old wood stove conspire in a game of hide-and-seek with the viewer involving film illusion and point-of-view. A single strand of 16mm and/or a watched pot.

Short footage about the illegal settlements issues and the struggle of the residents for the regularization of the land's possession.

A child tries to improve the life of the animals in a zoo by playing music with his tin four.

Animated Soviet satire film from 1978. Demographic problem. For adults. The stork flew over the city and carried a baby in its beak. The stork brought children to different families, but each had its own reason not to have children.

Heather McAdams films herself in (none-too-convincing) drag while lip-syncing to a record claiming to spur breast growth through hypnosis in this early Super 8 experiment.

I went to Ladakh in the vain search for a shaman. What I found was a species of Buddhist healing that involved trance and a variety of magical tricks of the healing trade.

Story: ‘1. We must make political films. 2. We must make films politically.’ Mok Chiu-yu’s allusions to Godard’s 1970 ‘What is to be done?’ manifesto are active in his wandering exploration of locations such as Hong Kong’s then newly opened City Hall and Café do Brazil. Punctuated with jump cuts and graphical interventions onto the film strip itself, An Open Letter not only critiques the trappings of intellectual life, but also questions the role of an activist-filmmaker in Hong Kong society.