All Films

Ada the office Tea Lady wiggles herself and her clanking trolley backwards pushing open a fire door with her Behind. A critical smoking office worker supplies a door wedge and mocks the rules about keeping the door closed at all times. Due to carelessness they stubs out a cigar before they leave the office. After the building has burned down rescued sheepish Tea Lady Ada is subsequently seen being handed a cup of tea by a sympathetic fireman.

A quotidian look at the heiress-turned-terrorist's "lost year" in hiding.

Episode from the documentary series Paraskinio, dedicated to Mimis Fotopoulos, who speaks about his life and work in a monologue in front of the camera, likely improvised. We watch footage from his films, and we hear him reading aloud. Among the ruins of an open-air space, mostly used as a film studio, he initially plays the blind man from "The Counterfeit Coin", talks about his films such as "The Counterfeit Coin", "Laterna, Poverty and Dignity", and "The Little Chauffeur", and comments on that period of the golden age of classic Greek cinema. Fotopoulos wanders through the ruined studio and discusses the increased responsibilities of actors in theater and the challenges of filming while performing in plays during the flourishing period of Greek cinema.

Eyes and ears. It's your lookout. An exercise in how to cross the road when there are no marked road crossings.

‘Bruce Woods films are among the most sensual of any ‘abstract’ animated work ever made. Projected, they generate a fluid stream of organic images in a carefully controlled post-cubist space comparable to the work of painters like Jackson Pollock. Viewed one frame at a time (which is the way much of the footage is shot), they recall the rich lines and textures of such master etchers as Rembrandt. Wood’s use of camera movement during exposure of each individual frame – like drawing – together with the illusion of movement in projection make his films both beautiful and unique.’ – Bill Judson, Curator of Film, Museum of Art, Carnegie Institute, Pittsburgh.

'My films are abstract visual compositions of calligraphic lines, nebulous forms, and sensuous surfaces. They are successors of abstract expressionist painting, and reveal my concern with painterly 'still' composition. I consider them assemblages, or collages.' -- Bruce Wood

A short documentary on the Croatian naïve artist Ivan Generalić.

Tom Joe, a kite maker, recreates the folklore of Asian kites by illustrating magnificent stories from China, Japan and Polynesia.

Autorretrato is the mirror the filmmaker uses to look at himself, and through it, at his reality, using the cinematic collage.

A contrast between two kinds of attitudes to gay liberation in Adelaide.

Animated advertisement for "Margareta", the make-up collection produced by Mirage Enterprise.

Documentary depicting the science-fiction shapes and colors of life in the cold seas of Ireland. Nominated for the Academy Award, Best Live Action Short Film, for 1977.

A reworking of an earlier film, Institutional Quality, in which the same test was given. In the earlier film, the person taking the test was not seen, and the film viewer in effect became the test taker. The newer version concerns itself with the effects of the test on the test taker. An attempt is made to escape from the oppressive environment of the test — a test containing meaningless, contradictory, and impossible-to-follow directions by entering into the imagination. —Canyon Cinema

The films are of two patients, extracted from a medical film study of brain wave activity during seizures.

In this first project of Kim Longinotto while she was a student at Englands National School of Television and Film she filmed the daily life in a girls boarding school situated in an old isolated castle in Buckinghamshire. Until she was 17, Longinotto lived in this boarding school, finaly she run away from there. In this dark and expressive black and white documentary, Longinotto exposes the repressive school from the students perspective. It seems to be a kind of miniature state with bizzare rules, idigestibel food and absurd punishments. The documentary begins with an graduation ceremony. The director blows her own trumpet, afterwards the film describes the daily routine of schoollife. The film ends up with the students leaving for holidays. As a result of this documentary, the boarding school was closed down one year after the release of the film.

We traveled to Indiana back roads to see and shoot the annual Miss Nude Universe Contest held at a “notorious” nudist camp. They wanted $15 a head at the gate so we parked down the road and crawled through the brush. Once in, we encountered truckers and hundreds of Sunday photographers straining for a shot at the contestants. Afterward we joined the quest for stray women willing to pose. After a quick success we headed home with our catch in the can.

The little blue elephant did nothing but mischief until the hippopotamus advised him to do something useful. Then the baby elephant watered the animals of the desert, saved them from a hurricane and presented them with a lake.

A reconstructed view of the surroundings I had as a child. I place the camera in the space at different levels corresponding to different stages in my life as I grew up. Constant camera movements show objects from extreme close-up, a perspective alien to the eye opening up a microcosm which remains hidden to the normal observer.

A Tribute to John Cage is Paik's homage to avant-garde composer John Cage. A major figure in contemporary art and music, Cage was one of the primary influences on Paik's work, as well as his friend and frequent collaborator. In this multifaceted portrait, Paik creates a pastiche of Cage's performances and anecdotes, interviews with friends and colleagues, and examples of Paik's participatory music and television works that parallel Cage's strategies and concerns. The methodology and philosophies that inform Cage's radical musical aesthetic — chance, randomness, the democratization of sounds — are evident as he performs such seminal pieces as 4'33" (of complete silence) in Harvard Square, or throws the I Ching to determine performance sites. Among the collage of elements included in this work are segments from Paik's Zen for TV; Paik and Charlotte Moorman in early performances, including the TV Bra; and anecdotes from composer Alvin Lucier.

A screen adaptation of Herbert W. Franke's science fiction novel "The Orchid's Cage". The story is set in a world where humans have been reduced to immobile plants, orchids. They are fed and entertained by machines. They have had everything in life, they have no need for anything but pleasure, and so they have gradually degenerated. Humans appear on the alien planet, but they too are just having fun. Soon they too become orchids.

The film tells the story of the first skyscraper of São Paulo, the Martinelli building, and registers testimonials of its last residents who had to move after São Paulos’ municipality interdiction of the building. It shows the variety of human types and commercial establishments that used to exist inside the traditional building.

For City Slivers, which was made with a camera borrowed from Robert Rauschenberg, Matta-Clark affixed vertical matte strips in front of an anamorphic camera lens, thereby allowing only slivers of light to penetrate the film. He then rewound the film, repositioned the mattes, and reshot the same camera load. Using only in-camera editing, the light appears to slice through the film frame in a manner analogous to Matta-Clark’s architectural “cuttings.”

Experimental short film.