All Films

Statics of an Egg focuses on Nakaya’s hands as she tries to balance two eggs upright on a flat surface. The video references ‘The first day of spring’, an essay written by the artist’s father, the prominent scientist Ukichiro Nakaya, wherein he explains how it is possible to stand eggs upright, and not only on the first day of spring, as the Japanese proverb details.

A film about the daily work of the forest firefighters of the Krasnoyarsk Aviation Base.

About the creative friendship between the children's music school in Leningrad and the organ maker Justin Prončketis.

Four thousand letters were received by Sergey Vladimirovich Obraztsov after his television appearance, during which he asked the viewers to write to him about who has which animals and why they love them. Various letters—amazing and funny, cheerful and lyrical, and truly tragic—were sent by both adults and children. Kindness and cruelty are not innate to a person; they are shaped throughout a child's development. A person's attitude towards animals, nature, and everything around them should become part of their personal values, and children need to be raised with love for all living things so that they grow up to be kind people…

A portrayal of the harsh conditions faced by Salvadorans in the 1960s and 70s.

The story: the death of a dog, filmed subsequently, a violent death because it is caused in a veterinarian’s clinic; a man in a white coat injects the strychnine… The film: afterwards there’s a moment when the animal’s eye emit violet-blue flashes, then nothing, but only apparently. Now everything is sweetness, what continues is death: the voyage into death – the transfiguration – the images that return, only to disappear from memory, emerge from the recollections in a purifying vortex that take them back to their essence. It’s the gradual breaking down of the image into form and then into colours and then into light and finally it’s the beginning: the vibration that is the matrix of sound of light of life. It’s the cosmos that makes that meat good to eat for a million years.

A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover "structural" film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities.

Trial by Fire: A Carrier Fights for Life (1973) was produced by the United States Navy to educate Navy personnel on how to prevent fires and how to control them when they break out on a carrier at sea. The film includes actaul footage of a carrier on fire and the brave crew that worked to extinguish that fire before it became a disaster. Note: There is a background hissing noise on the audio soundtrack from the original film. This film has a runtime of approximately 19 minutes.

An experimental short film from Toshio Matsumoto featuring Mona Lisa.

A man's head is seen in silent close-up using single-frame shooting and time exposure.

Contemporaneous to his best-known video works, these Super-8mm films represent Baldessari's conceptual engagement with motion picture film, pointing to the technical strengths and weaknesses of the celluloid medium relative to video, such as the superior reproduction of color, on one hand, and the difficulty of adding synchronized sound on the other. Conceived on an intimate scale (only the artist's hands are visible as he manipulates a range of objects), Baldessari's Super-8 films replace text and speech with a cunning visual language, in which he wordlessly describes physical changes in his environment: a bright light flashes on a mirrored surface, red liquid rises in a thermometer, and powdered pigment makes an indelible mess. Here Baldessari employs a method of communication that is based on spectacle rather than performance.

LINE DESCRIBING A CONE is what I term a solid light film. It deals with the projected light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes the flat surface (the screen). It is projected in the normal way, on a 16mm film projector. Though inevitably there will be a wall that limits the length of the beam, a screen is not necessary. The viewer watches the film, by standing with his, or her, back towards what would normally be the screen, and looking along the beam towards the projector itself. The film begins as a coherent line of light, like a laser beam, and develops through the 30 minute duration, into a complete, hollow cone of light. Line Describing a Cone deals with one of the irreducible, necessary conditions of film: projected light. It deals with this phenomenon directly, independent of any other consideration. It is the first film to exist solely in real, three-dimensional, space.

'Mirror Movement' was filmed in the desert outside Tucson, Arizona, in 1973, on 16mm Kodachrome stock and with a Bolex camera. In front of the camera were Christallo Parmakis and Bob Di Matteo. At this time I worked with images and narrative in, one could say, a musical way – in the sense that we did not use a previously set script. What interested me was what the film itself needed, going from one scene to the next, the imagery and what could be achieved with that landscape and the combination of those two people. This way of working involved editing in the camera, hard work and dedication. (Håkan Dahlström)

In this film of one of his most daring performances, Matta-Clark climbed to the top of the Clocktower in New York and washed, shaved and brushed his teeth while suspended over the streets in front of the huge clockface.

An incredible experimental work from Ryszard Wasko exploring time, space and movement via timelapse and long exposures. Avoid if you're epileptic.-

A travelogue inviting viewers of today to come visit the future. The person who found this mysterious 16mm film in his basement in 1973, Rev. Ivan Stang, later ran The SubGenius Foundation, the Slack Prophecy religion devoted to Texas cult religion salesman J.R. "Bob" Dobbs.

A slow-motion dive at 3,000 frames per second.

A visionary trip into a common man's subconscious.

Now takes on video's claims to immediacy and authenticity, as Benglis juxtaposes live performance with her own prerecorded image. The soundtrack features phrases such as "now!" and "start recording," commands that usually ground us in the present, but here serve to deepen the confusion between live signals and mediation. Repeated takes and acidic color processing heighten this challenge to video's power of "liveness."

Refreshingly, Farocki lays his cards on the table at the very beginning of the film, “I want to demonstrate that most feature films are of the sort that make people lose their interest and appetite for the real world”.

Henri Cartier-Bresson: The Decisive Moment is an 18-minute film produced in 1973 by Scholastic Magazines, Inc. and the International Center of Photography. It features a selection of Cartier-Bresson’s iconic photographs, along with rare commentary by the photographer himself.

“The narrow passage or dangerous passage is a common motif in both funerary and initiation mythologies. I step inside and move through a corridor of electrically charged wires, constantly experiencing painful shocks and sinking to the floor. But I accept the challenge and, in a somewhat pathological increase in willpower, I press my head against the wires again and again. Society is a closed, structured space, which regulates all human energy through painful barriers. Only through an effort of will to overcome the pain (which is at the core of society) is one able to achieve a state of free expression.” – VALIE EXPORT

“This film deals with exploring one´s surroundings by means of the body, and the exploration of the surrounding body. Not only is something shown in this film, showing itself is shown, not only is something portrayed, portrayal itself is portrayed. A sense of space is created in a way possible only with film: seeing oneself from the front and back simultaneously, from above and below, and from outside in the center of the space. The film combines opposite parts of the space, which form the body´s imperceptible time-space continuum. Space is carried along, just like the camera.” – VALIE EXPORT

The little chicken subdues the big animals - the fox, the wolf and the bear - with a cheerful song. "How green everything is, how beautiful everything is... Ko-ko-ko-ko-ko-ro-ko".