All Films

The Pink Panther operates a gas station for space ships, and ends up battling a space villain.

A power struggle floats in the judiciary. A dead body in a dust-bin. More death. Superintendent Sven Thorén is fed up with dead bodies. His partner Olle Lyck is tired of most of it. Not to mention System 84.

The story on Arcadia's mystery, on which the 13th television episode was based.

Taking refuge from the Dog Catcher in The Little Man's house, The Pink Panther pretends to be the daughter's latest soft toy and she fights over it with her brother.

Eric Mitchell's debut film, shot in Super 8, stars Mitchell, Anya Phillips, Patti Astor, and Duncan Smith among a crowd of hip "poseurs," talking sex, manners, and politics.

A film record of an exhibition of the late work of Paul Cezanne, organized by The Museum of Modern Art and the Reunion des Musees Nationaux in Paris. The camera moves across details of paintings, as well as details of Cezanne’s studio, providing an intimage, close-up view of the artist’s work. The narration is provided by Cezanne’s own words, taken directly from records of correspondence. 22nd Annual San Francisco International Film Festival Participation- Communication Competition, 1978.

Henry Snavely is a cynical hotelier that in this pilot is faced with the threat of hotel inspectors.

The characters from Marian Falski's Elementarz come to life as protagonists of a chronicle drama from the 1960s and then protagonists of a new wave plot from the 1970s. The voiceover adjusts its tone and message to the image, staying within the world of the primer.

This experimental short consists of eight unedited rolls of super-8 film, each of which profiles an individual woman in real time. The women engage in everyday behaviour, such as playing pinball or reading a letter aloud.

Artist John Smith tells stories about tower block life, editing in bold, unconventional fashion, cutting into the material and highlighting the components and conventions of the film form - yet an intimate portrait of the block's inhabitants still emerges.

The Pink Panther decides to lose weight believing he is 220 pounds when he really is 75 pounds.

Everybody tells Onnie to steer clear of Patsy Gallaher, that he's bad news, but Onnie doesn't see it. Gallaher is Onnie's friend, and he believes friends should be loyal to one another.

A comedy about a wedding with impediments.

The Pink Panther visits an amusement arcade after getting tons of quarters from a broken weight machine.

The Pink Panther buys Dr Jekyll's old car which he can't control (thanks to the doctor's formula in its gas tank).

Warren Sonbert described Divided Loyalties as a film 'about art vs. industry and their various crossovers.' According to film critic Amy Taubin, "There is a clear analogy between the filmmaker and the dancers, acrobats and skilled workers who make up so much of his subject matter." -- Jon Gartenberg. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.

A young boy, abandoned by his father and supported by a blindly optimistic mother, struggles to fit in at his new school.

Short film that seeks to identify human relationships from the deconstruction of love.

A look at artist Mark Hicks of Manhattan Beach, California, a quadriplegic since falling out of a tree at age 14. His work is examined, along with a discussion of his being a student at UCLA, culminating with his first gallery show in San Francisco.

An avant-garde meditation on the principles of the I Ching.

Features the following tracks: Skating away on the thin ice of a new day, Jack in the green, Thick as a brick, Songs from the wood, Velvet green, Hunting girl, Aqualung, Guitar solo, Wind up, Locomotive breath

In Flux, Steina films a river from a wide angle, deforming the image to the point of creating a sort of radiating, aqueous ball - like a liquid planet turning in space. Steina alternately shows fairly rapid shots, always taken at a very wide angle, which film the river once in one direction and then once in the other; she thus obtains a simple visual and very efficient equivalent of the energy of the water. The close succession of the shots, like the use of the reprocessed soundtrack of running water, are all variations on the texture of the aquatic substance. Under the façade of a work far removed from realism, Steina in fact offers a work that is in total contrast with the traditional images of running water, but, with her video vision, comes very close to literary and pictorial visions of romanticism. She manages to translate the entire mythology of water into images without using narrative or symbolism, but by simply using the possibilities provided by her camera and machines.

Images, Joel Singer; Sounds, James Broughton. "The film is shot both through and at a window, superimposing and conjoining, thereby elaborating events on both sides of the glass. Broughton's accompanying poem sings the same song as the images, sounding from an Eden of the golden passing of days: "They were seeing the light every day then ... / They were looking and they were seeing / They were living there in the light at that time." - Robert Lipman, On the Films of Joel Singer

The first part of the film is in colour and consists of arguments about how to make films and what film to make. The film then changes to black and white and the argument continues about houses and planning, with shots of the destruction of a house, and shots from other films of the houses it used to be. The arguments are not conclusive and the film is about doubts rather than certainties. - A.R.