All Films

"'Work, Bike, Eat' is about youth and being young. The intention in making the film was to catch people and the relationships between things in as natural a way as possible, and to minimize the apparent intrusion of the filming process into the subject matter. The story is really a collection of vignettes from everyday life: getting a job, eating a meal at home with your parents, chance meetings with strangers, taking a nap. A carefree camaraderie pervades the film." —Keith Lock & Jim Anderson

Short experimental film produced as part of the "Recherches, Art et Industrie" (Research, Art and Industry) program developed by Claude-Louis Renard at the Régie Renault in Paris.

Abstract film by John Whitney Jr., filmed using a long exposure of a photograph of a person.

Literally, a glance. A dedication; my emissary. –A. C. H.

In many ways the sister film to 'Horse of Mud', Al-Abnoudy’s graduation film at the Film School in Cairo is a portrait of Cairo’s street performers. The artistry of this community of fire-eaters, acrobats, child contortionists, and musicians is captured through the lens of Al-Abnoudy’s unobtrusive camera, accompanied by the spare and haunting narration provided by poet Abdel Rahman Al-Abnoudy. Playing with the poetry that offers image and cinema, she pays tribute to those underground enterteiners, giving back its letters of nobility to a marginalized and downgraded popular art.

This work belongs to the series Soldats soldés, which Miralda produced in Paris between 1965 and 1973 based on his experience in compulsory military service. The series began with drawings and collages, which gave rise to found objects covered with hundreds of toy soldiers, and continued with a series of public interventions in Paris featuring the reproduction in fibreglass of one of these life-size figures. The culmination of these actions was the Paris urban performance. La Cumparsita, produced in collaboration with Benet Rossell. The film shows the figure's journey through different locations in the city: its passage through the Place du Tertre, the Champs-Elysées, the Louvre, the demolished market of Les Halles, etc., which is intended to find a pedestal on which to stand.

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas' approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video.

This studio concert by Genesis (Tony Banks, Peter Gabriel, Michael Rutherford, Phil Collins, and Steve Hackett) features hits “The Fountain of Salmacis,” “Twilight,” “Musical Box,” and “The Return of the Giant Hogweed.”

"The Devil Is A Condition" explores the housing conditions and needs of the poor Puerto Rican and Black communities together during the late 60's and 70's. Set to the soundtrack of free jazz and poetry, the film exhibitions of impoverished Black and Puerto Rican life together. To take a place like New York, where the destinies of the two communities feel inextricably tied, recounting that exchange/relationship is enduringly important. Jumping from Uptown, to Brooklyn, and back the The Bronx, The Devil is a Condition is both a capsule of a burning New York, as well a depiction of how somethings still have failed to change. The documentary feels timely in the way that two communities relied on each other both artistically, as well as for social progress.

With a rescue bag of food in tow, the Stews come to Wilbur's aid when he chooses a dark and stormy night for a camp out.

Wilbur and the Stews travel to the town of Lazy Susan, whose lethargic residents suffer from poor eating habits.

With the help of a balanced diet, a sidelined race car driver regains his proper racing weight and returns to action - and his gout is alleviated to boot.

The Stews explain the basics of nutrition and digestion, as well as the importance of eating breakfast.

A film of playful observation, without commentary, catching in a few simple animated line drawings the images people project of themselves in the way they dress or move. Different types of people--plump dowager, curvaceous dancer, kilted Scot, ancient Egyptian--all make their bid for attention, metamorphosing one from the other in surprising ways. Film without words.

Shot in Barranquilla on the Caribbean coast in Colombia, The First Part of King Henry IV of Double V Shakespeare: An Analogy (1972) testifies to a dream experience of "Living Theater" a lived analogy of The First Part of King Henry IV of Shakespeare. In an Elizabethan decor of white colonnades, ruined and sumptuous, the street characters imagine themselves in an open-air play. Inspired by the pages of the book Absolutely Necessary: ​​The Emergency Book, a nomadic album in graphic poetry published" by Joëlle de La Casinière in 1973 at Éditions de Minuit, the film embodies the idea, already germinating at the time, of the work: multimedia, which combines the written word, image and sound.

Eyes may be the windows of the soul, but when the gaze is directed outward they become much more than organs for perceiving the world, they become also an instrument of involvement in all of life's drama. In this highly imaginative animation film, one disembodied eye (one is all it takes) embarks on life's adventures, entering into and disengaging from all the many passions, vicissitudes and conflicts that beset one's course.

A film on the edge of genres, both a home movie about the author's young daughter up to her second birthday, and a structural film.

The Dreamer That Remains is a documentary produced by Betty Freeman and directed by Stephen Pouliot in 1972. Here is the director’s original cut along with his commentary. If you’ve never seen Partch or his instruments before, this is the place to start.

A story about a boy who together with his friends - a dog and a swan - taught a lesson to a mischievous robot.

"Originally designed to be projected back up onto a screen on the glass floor on which it was made, this film uses people to explore the space beneath the floor. It was more recently screened as a ceiling film. Made while I was a Student at St Martin’s School of Art." -TH

A strange and haunting vision of the catharsis involved in the work and leisure expenditure of an apparently non-distinct punch clock commoner, a human with its face masked in bandages. The cold urban landscape is pocked with such sinister everyday events that even the contents of the commoner's briefcase can only reinforce the veils within. Chock full of very special effects.

A grimly amusing look at life in Sun City, Arizona, a gated retirement community. The Best of Your Life was the first film that Streeter and Ganz made for The Great American Dream Machine.