All Films

Short documentary.

Sid's daughter may be pregnant, but he is more interested in catching a pesky mouse. Things are further complicated by visits from an assortment of strange neighbours and relatives.

The story is about guys who are searching in Lake Liepaja for an airplane that sank many years ago during the war. Aivar also wants to be part of the group of guys looking for the airplane. To do this, he needs to pass a test - walk along the pier to the old fort and carve his name on the wall. On the way back, he is caught in a storm, but he passes the ordeal with honor. An old sailor Yoran, who lives on the decommissioned ship "Izabella", helps the guys in their search for the airplane.

This work consists of a fixed shot capturing the natural phenomenon of light flowing in from beyond the horizon, which Nakai encountered at a beach when shooting Alchemy. The sound consists of ambient noise from the surrounding environment. “This is minimal cinema focusing on the phenomenon of light passing over the sea, which I happened to encounter on the beach when I was filming Alchemy.” (Tsuneo Nakai)

Camille invites some soldiers to spend a Sunday in the country with her. When they arrive, they find that something is amiss.

Are you a dog or a cat person? If you favour the felines then this animated meditation on cats of all shapes and sizes is for you. The film grew out of industry veteran Vera Linnecar's play with applying mottled coloured paints directly onto animation cels. Paired with the piano music these scenes are a playful experiment, mixing abstraction with careful observation of cat behaviour. Vera started her animation career at the Halas & Batchelor studio in 1940, as did Elizabeth Horn, who also worked on this film. Moving from tracing, to inbetweening, to animating, Vera became one the company's principle artists. In the late 1940s she moved to the Larkins studio which better suited her experimental spirit. In 1957, along with Nancy Hanna, she joined Bob Godfrey and Keith Learner at Biographic, and continued innovating there until she retired in 1983, after four decades in the business.

Short film that follows a love story developed in a small span of time, encapsulating the youth's existential crisis of the time.

When Sint Nicholaas' steam boat gets stuck on the IJsselmeer on it's way to Holland, a young girl named Annabel and an old skipper called Eeltje Steur come to the rescue. When asked what kind of present Annabel would like to receive in her shoe on December 5th, she replies 'A house'.

Film shadow performance. "First presented in 1971 using three 16mm projectors each with a short loop of changing colour. Projected onto the same screen – the centre image large and the two side images smaller and superimposed into the centre of the larger screen. The performing body casts complex colour shadow. The action begins touching the screen and - passing through the space of the audience – it ends at the projectors. The actions are timed to an audio tape of breathing. Though improvised in detail to fit the particular time and place, the action follows a consistent pattern that has changed little since the first performance.".

In an unusual spaghetti western setting, a man - played by Ilarion Ciobanu - returns to his home village after spending time at the front. He finds his wife in the company of another man - played by Anușavan Salamanian - who is also raising his son. The confrontation between the two is at its most intense when they exchange glances that, in Ciobanu's case, seem to be a textbook study in Clint Eastwood's taciturn protagonist from Sergio Leone's famous trilogy. In many ways, People Aren't Goats stands out among all the other student films of the period. But the point where it proves most particular is its belonging to a genre - spaghetti western - at that time still new worldwide, whose national exponent will remain Ilarion Ciobanu, through the roles he played in the singular western trilogy, released a few years later, in which the people of the Ardennes go through all sorts of adventures.

A spontaneous street movie, a record of ‘swinging London’ where Erkki Kurenniemi had travelled to assess the commercial potential of his instrument DIMI-A.

The Serbian province of Vojvodina is home to a multi-ethnic population of Serbs, Croats, Slovaks, Ukrainians, Romanians, and Roma. The different groups seem to coexist cheerfully and peacefully, full of respect for each other’s customs, songs and religions. But the filmmaker’s ironical gaze discovers cracks in a facade that has long been less harmonious than it seems…

In 1970, Christian Ghazi and Noureddine Chatti met with a number of Arab political figures, especially Palestinians residing in Lebanon, resulting in this piece of armed (alternative or third) cinema that captures a crucial cross-section of the Palestinian resistance in Lebanon in 1970. The film features footage of Ghassan Kanafani, Sadiq Jalal El-Azm, Nabil Shaath and other personalities who share their vision of the Palestinian revolution, tracing its history back to the early 20th century. These testimonies describe the numerous strikes and popular protests that took place in Palestine under the Ottoman occupation, followed by the British colonization and the settlement of the Jewish state in 1948. They enumerate the objectives of the struggle, emphasising the necessity for a free and democratic Palestine, defended through armed or non-armed struggle by all its citizens, men and women of various affiliations.

István Szabó reveals a lesser-known side to the public in this work, which strings together eight shorts of Budapest into a single movie. In the piece interpretable as a declaration of love addressed to the capital there are numerous motifs that are also to be found woven through the director’s major features, first and foremost Szerelmesfilm (Love Film), Tűzoltó utca 25. (25 Fireman’s Street) and Budapesti mesék (Budapest Tales). Besides allowing the viewer to marvel at the cityscape from 50 years ago in a series of fast-moving images, the film is still primarily about Szabó’s Budapest: his observations, his impressions, his imagination.

Shot in the Fire Island Pines during the same summer Poole filmed the first segment of his debut feature film "Boys in the Sand," this short was made in collaboration with the director's close friend and visual artist Ed Parente. The film serves as a visual love letter to Parente's boyfriend Fred, who was often away while the two spent time filming on the island.

The Newsreel collective’s JANIE’S JANIE breaks with the group’s usual format for a more personal approach, following a woman’s journey to self-determination after years of mental and physical abuse; or, as Janie says, “First I was my father’s Janie, then I was my Charlie’s Janie, now I’m Janie’s Janie."

A student documentary crew chronicles the lead up and aftermath of New Haven's tumultuous May Day weekend of 1970.

A young man follows an older man through the woods to see what he has in his bucket. Based on the novella by Kjell Askildsen

At Uncle Blue's house, Petter and Lotta get to go to their very own school. Their teacher teaches the children everything under the sun. They play cowboys and Indians and learn how to build an igloo. When Aunt Brown's birthday comes around, they prepare a surprise, with a treasure hunt and ghost games. Of course, it turns out to be a very successful birthday!

Break and Enter documents Operation Move In and the New York squatter’s movement in the 1970s. In 1970, several hundred Puerto Rican and Dominican families reclaimed housing left vacant by the city. They pulled the boards off the doors, cleaned and repaired the buildings and moved in.

Hear the inside story of Huey Newton and the Black Panthers with this documentary that examines their efforts to promote the rights of African Americans as well as the organization's violent tactics, including the killing of a police officer. The film features a rare jailhouse interview with Newton discussing the role of revolution and civil disobedience, plus footage of several Panthers' bullet-riddled homes following police raids.

The television footage of a wrestling match is employed here as a metaphor for Quebec society. Using voice-over narration, Falardeau presents a compelling analysis of the structure of wrestling and its rituals. The good guy against the evil antagonist, the forces of order and the desires of the crowd. The audience becomes part of the spectacle in this powerful show where wrestlers confront one another under the watchful eye of the referee. It is a ritual of catharsis. The documentary begins with the words, images and sounds of Quebec's political struggle, "SOS F.L.Q. Continuons le combat". Produced right after the October Crisis in 1970, a crucial moment in Quebec's struggle to become a sovereign state, independent of Canada, the tape is charged with the bitter experience and political aspirations of the period. We recognize in this tape, the "Falardeau style" evident through a very strong narration that supports the images till the end, when the video abruptly closes.

Good Morning is a 1971 short film directed by Ken Greenwald, with Roger Carroll and Vern Rowe. It follows a man who wakes up hoping to have a good day, but reality keeps getting in the way. The film was nominated for an Oscar for Best Live Action Short Film.

The clever but poor farmer Klaus infuriates the rich big Klaus with his mischief. But little Klaus always manages to get out of the most difficult situations and emerge victorious in the end. But one day, big Klaus has a fit and wants to drown little Klaus. Now he once again has to rely on his intuition and his wit ...