All Films

Peeter Simm's diploma film about a forest-guard and a Kyrgyz Red Army soldier in Estonia during the German occupation.

Home movie capturing the 6th birthday party thrown for Palazzolo's daughter, Sarah Marie, who was born in 1972. Features scenes of children eating chocolate cake, laughing, and dancing to popular kid-friendly songs of the day. Palazzolo's wife, Marcia Daehn, and his son, Todd Benjamin (then a baby), as well as their daugther, Amy, also make an appearance in the film.

Super 8mm. Black and white. Sound. 13 minutes.

A series of tail ends of varied strips of film, with sometimes recognizable images dissolving into light flares, appear to run through and off of a projector. A romantic "narrative," suggesting an "ending," is inferred. This film can be projected at either sound speed (3 minutes) or silent speed (5 minutes).

Short experimental film.

The slow rhythm of regular breathing determines an analogous rhythm in the image: the fugue of a candle flame toward a virtual infinity generated by a lens with variable focal length. Each appearance of this vector (successive fixed positions of the zoom) corresponds to an equivalent interval of darkness, an identical number of unexposed stills. An attempt at metric cinema. The position of the flame varies slightly with each successive apparition and the displacement seems to stop for just a few seconds in order to introduce alternating stills in reverse order.

A barbaric feast of "Mad Masters" of our country hardly unexplored, originally on a very repetitive "kraft" music ....

A married couple is having a caustic argument in front of a camera.

Manipulating the way the camera captures light and the use of filters, this film configures a kaleidoscope of abstract lights of different colours, reflections, fragmented irises, peepholes, circular forms, flashes of lights in the dark punctuated by images of almost white skies.

One of the most productive nods of amateur cinema in Argentina was the Peña Foto Cine 8mm Club in La Plata, which organized national festivals of Super 8 filmmakers in the Seventies. One of its most remarkable exponents was Julio César Otero Mancini, who capitalized his amateur origins and became a true independent filmmaker building a body of work as a Super 8 author by inventing his own mechanisms and aesthetics, challenging any technical or expressive limitations of the medium both technical and expressive aspects. Animation, documentary, science fiction, experimental, all at the same time or by separate, Otero Mancini’s short films multiply the audiovisual experience with his radical freedom and incorruptible originality. His biggest creation is probably Boomerang, an answer to the violence of the 1976 military coup made in collaboration with guitarist Skay Beilinson on harmony vocals, an agit-prop cinematographic affront that still surprises for its courage and vigor.

R is a very simple film, flickering and panning which in its silence induces a fugue of rhythms. The center part of the film is a transcription of one of J.S. Bach ’s Invention.

Wong's first colour videotape bears the influence of several artistic genres popular in the 1970s, including performance and body art. We see Kenneth Fletcher draw several millilitres of blood from his arm and inject the contents of the syringe into Paul Wong's back, just under the skin. The camera closes in on this, observing the slow response of the immune system as the skin turns red and purple. What was originally intended as a sort of ritual uniting the young men as blood brothers, with implicit reference to drug use, has become a disturbing and dangerous act, when AIDS evokes our deepest fears and anxieties.

A single action seen from alternative left and right perspectives, accentuating reversals, repetitions and persistence of vision. Rather than uniting opposites, rhythm is set up by the struggling eye, varying as the image is moved closer to and further from the screen's center. The sound, with its fragmentations and its implications of incompleteness, focuses attention on the impossibility of a resolution in the film's dichotomy. "Rather than crediting the camera with objectivity according to the usual convention in film, the viewer is confronted with the relativity of simultaneous multiple perspectives. The soundtrack underlines the arbitrary relationship between a sign and its signifier, as does Magritte's painting, Ceci n'est pas une pipe." – The Art Examiner

A purely visual exploration of the four different "centers" of triangles.

Doy del Muno’s documentary about the making of Mike De Leon’s Itim also features the only scenes to survive from De Leon’s now-lost debut film, the 16mm short Monologo (Monologue) (1975). De Leon recalls, “Itim was filmed in my grandmother’s hometown of San Miguel, in her family’s ancestral house where more than two decades later I would also shoot Bayaning 3rd World. Doy and his brother-in-law Gil Quito wrote the screenplay. It was Gil who suggested the use of spiritualism and spirit possession during the holy week.”

The film describes in a simple way the division between girls and boys through education by assigning them different behaviors based on their sex difference.

Short film.

The third episode of Patrick Tam’s anthology series “Seven Women” (1976), with three short stories combined.

An informative short film from Thames Water providing an in depth look at their operations and how they supply water from the Thames River for a variety of uses.

Electric Light Orchestra performing live in London.

Based on the novella of the same name by the French writer Honore de Balzac from the cycle "Philosophical Etudes".

Depicts the cultural legacy of the Sumerians, Semites, Babylonians, and Assyrians of the ancient Middle East using authentic locales including Babylon, Ur, and Nineveh.