All Films

Filmmaker Richard Baily was offered a position at Robert Abel & Associates based on his work in this award-winning early computer animation film, made while a student at CalArts.

Kurt Kren short

Mapping extreme close-ups of Broughton's body, the camera slowly becomes a tool to reveal the erotic beauty of the body and the sensual pleasure in loving oneself. The ecstasy and power of sexual gratification are celebrated by the camera, as it probes, reveals, and visually caresses. Broughton's song is a praise of his body as divine androgyne, and an acceptance of this higher, sexual power.

A group of independent filmmakers in Sweden brought together this anthology about homosexuality and homophobia.

Two funny stories about little ones and for little ones.

The first part of the Carolyn Carlson cycle. Between her and herself. Three images of the dance are repeated, come up against opacities that do not let themselves be crossed, are lost in transparencies from which there is no reflection. The sound describes their inevitable journey: this motionless movement.

A funny chronicle of the São Paulo middle class in the 1970s, based on a simple but effective premise: a primary school class meeting, 20 years later. Retrato de Classe starts from a photo of the junior class of a private school, in a middle class neighborhood of São Paulo. He searches for and gathers former colleagues and a teacher, in order to recreate the group's trajectories, to draw the profile of the country's metropolitan bourgeoisie. A country in crisis and a middle class that was experiencing the collapse of the economic miracle. Frustrations, desires, prejudice and futility are part of this universe of people and their life trajectories.

A group of factory workers in post-independence Mozambique performs a ritual of song describing their work in South African gold mines, and decrying the evils of apartheid.

Time and movement have traditionally been used to establish the illusion of space in film. In this film I have tried to de-emphasize both these illusionary properties by altering the space within the camera rather than the space in front.

One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.

A documentary on politician Francisco Pinto's return to his hometown of Feira de Santana.

This begins the fourth chapter of The Book of Film and entertains directly the considerations of chapter two (THE WEIR-FALCON SAGA, THE MACHINE OF EDEN, and THE ANIMALS OF EDEN AND AFTER). Person begins to be defined by what it is not. It might be said that chapter one (SCENES FROM UNDER CHILDHOOD) set forth birth and being, chapter two - consciousness, chapter three (SINCERITY) - self-consciousness; thus SOLDIERS AND OTHER COSMIC OBJECTS begins that strictly philosophical task of distinguishing (from, in this case, the rituals and trials of public school). I like to think of it as a work that Ludwig Wittgenstein might have found more enjoyable. Soldiers and Other Cosmic Objects (1976) is largely concerned with the children’s experience and navigation of the larger social world. Consisting of a series of short contrasting vignettes, the film begins with the warm depiction of a home’s interior in which a child arranges toy figurines into grid-like military arrangement.

Palestine in the Eye chronicles the profound impact of Hani Jawharieh’s death for the PLO Film Unit. The film reflects on his life through interviews with family, colleagues, and his own cinematography, including the moment of his death while filming for the Unit in 1976. Although the film has later been attributed to Mustafa Abu Ali, the Unit’s method of work was to describe everyone as a collective of “workers,” and we see this in the film titles, which collectively list the names of all those who participated as a non-hierarchical collective. Through this reflection on Jawharieh, we are offered an understanding of the workings of the Palestine Film Unit and its international connections.

The film follows a pregnant woman on the path to her decision to have an abortion, from the talks with her mother and doctor, to the medical care after the abortion.

Fulton combines cultures and impressions in both black and white and colour. An intriguing sound track with sounds of nature, improvised jazz and Fulton improvising on his saxophone, highlights and deepens impressions of juxtapositions of intense images in Chicago, Haiti, and the Southwestern United States. The aerial film of patterns of light and darkness often through the cockpit windows of his Cessna 180 aircraft are an early precursor to his intense focus on his acclaimed aerial cinematography.

Hospital documentary on the testing of a medicine produced by a known pharmaceutical company on people considered psychiatrically calibrated that caused a "vascular storm" with horrible convulsions. Patients were discharged when they could make the fascist salute. Found at the market of the Fiera di Senigallia in Milan, signed by Grifi as ready-made.

The initial idea was to make a children’s film about chocolate-covered marshmallows. How they are made, what they are made of, where they are made, who manufactures them under what conditions. The women who work on the assembly line are happy to tell us all about themselves. We are a welcome diversion. We noticed that the men have the better jobs and also earn more money. The women don’t entirely let themselves be taken in by the meritocracy. Talking, goofing off, and singing, they help each other to get through their 8-hour day. We like that. We drop the idea of a children’s film. In this film we tried out a documentary film form that deliberately does without interviews, relying instead largely on the effect of the images. From today's perspective the film alsooffers a glimpse into the history of migration in West Germany.

16mm, colour reversal print

Sometimes Hannelore wishes she were a Hans, because “when a woman has to deal with a lot of men, she has to summon up a lot of strength to be heard”. The mayor of the island of Ummanz off Rügen used to be a cook. Now she represents the government and demonstrates “socialist democracy in action”. Director Róza Berger-Fiedler weaves Madam Mayor’s encounters with her constituency and discussions about the office with all its responsibilities into a sensitive portrait of a dedicated person.