All Films

The ultimate Walt Disney dog marking time. The bigger the screen the better. Dream machine and time machine.

“I now knew that I'd found a style to interpret an emotional event filmicly. The unabating atrocities of the Vietnam War, the growing protest movement in Australia, and the ghastly images we witnessed each day in newspapers and on TV formed my material. I wanted to get into the minds of the protesters, into their (my) anger. Protest rallies and the horror of the press were captured with a frantic camera and very fast zooming. The power of sound and image was heightened with often-rapid (sometimes single-frame) montage.” (Paul Winkler)

As an aquarium, the TV set signifies the identity of a real and reproduced event. Its images transform the TV set into an aquarium, a still-life, an object of meditation. But the water gradually runs out of the TV cabinet. The gurgling noise grows louder, the movements of the fish become more hectic, finally they are wriggling for their lives on the waterless floor of the cabinet. A warning sinusoidal tone begins to sound – censorship has saved the fish from their doom. I would have filmed the fish until they stopped flapping about, in order to produce the impression of a real death in a real TV set in a real apartment. This deliberate illusion would have shocked the audience, confronted them with real death as opposed to the pictures of death shown on the news, which now seem nothing more than illusion. (Peter Weibel)

Experimental ballet film with choreography by Eske Holm.

Animated short film

PROOF is a film so personal that it approaches therapy, but there are certain Devensky preoccupations which become readily apparent to everyone familiar with his work. Perhaps the finest sequence is the investigation of fifty-year-old tombstones in a Jewish cemetary - a scene which bears close resemblance to Devensky's scrutinizing of photographs in other films. Indeed, many of the graves bear photographs of their inhibitants and Devesky imbues the scene with that same romantic nostalgia... PROOF closes with a 2001-style light show and a direct statement of Devensky's evolutionary theory"

The short film that portrays two couples, one traditional and one modern, given in the backdrop of the playground they met.

The White Hare of Inaba is a film directed by Katō Yoshihiro, a central member of Zero Jigen, with cinematography by the filmmaker Ōe Masanori. Drawing on the Japanese myth of the white hare of Inaba, it presents a white hare (i.e. woman) leaping across waters full of ferocious sharks (i.e. male-dominated society), presenting a vision for a new era while capturing on film the joy of human beings’ inherent Eros and a new mode of “family” that breaks free of feudalistic social constraints.

A homage to nature and a plea for a careful approach to it. In one of his early films, Jon Jost shows impressions of a stream in the forest and a couple streaming through the forest: direct looks into the camera, cross-fades, multiple exposures, playing with sunlight, shadows and shapes. At the end, the appeal of a Wintu indigenous man who condemns the reckless treatment of the whites with nature is faded in.

A curator in a museum meets a woman he knows from a centuries old painting.

The only early film by Gernot Eigler to have survived, ASOZIALE was made in 1970 as part of the “Armut in Deutschand” (Poverty in Germany) TV series of the SWF network. Eigler, a Mannheim-born doctor, psychiatrist and specialist in occupational health was encouraged to make provocative, experimental films via his friendships and connections around the film studio at the Technical University of Aachen and the Cologne XScreen group. During breaks from work, Gernot Eigler continued to make films for ZDF and SWF until the mid-1980s. The fact that ASOZIALE has been preserved while the rest of Gernot Eigler’s early works must be considered lost is due to the fact that the film was shown at the Short Film Festival Oberhausen in 1971 and awarded a prize there by the jury of the Filmothek der Jugend. After the festival, a copy remained in the archive at Oberhausen.

A song of disenchantment with the city, yet an acknowledgement of it as a many-faceted place of dreams. Words and music by Jean-Pierre Ferland and Franck Dervieux.

Experimental film by Ran Shechori.

"A disk of wax soaked with lighter fluid is placed on one end of the balanced plywood. I run toward and Jump on the other end, catapulting the wax over my head in hopes of striking a strip of toilet paper, lighting and burning it. (the strips of toilet paper are strung in rows across the parking lot) The performance / film ends when all of the strips have caught fire." - David Askevold

"Fill is my first video; the monitor becomes a picture-sound box. The screen is filled by laying sheets of aluminum foil on a microphone and wrapped one at a time and then unwrapped. The audio implodes during the wrapping and explodes as the sheets are pulled away from the microphone. Besides the obvious reading of physical filling, the title also refers to filling time or a 'filler' between television shows."- Askevold

An animated satire in three parts from three animators.

A film about the legendary Estonian choir director and the soul of song festivals Gustav Ernesaks.

Using montage techniques, in 'Vertical, Horizontal, Diagonal, Square' Jan Dibbets imposes a graphic pattern on his shot of a grassy field. On the one hand, the lines are reminiscent of the white markings on a street or a football field that guide traffic or play. On the other hand, the graphic pattern here has nothing to do with this reality; it exists in the wholly other and more abstract dimension of the framing of the image imposed by camera. Then the pattern of lines disappears, and the artist himself steps into the image. With the utmost concentration Dibbets follows the lines seen earlier, which were only notional in the physical space, having been determined by the eye of the camera. He crosses the field from the lower left to the upper right, and from he bottom to the top. He moves across the grass as carefully as a tightrope walker, now drawing the lines with his movements, like an invisible horizon.

Early Michael J Murphy movie and his first adaptation of the legend of Tristan and Iseult

This movie short, entitled "The Art of Tajikistan", was produced by the Union of the Soviet Associations of Friendship and Cultural partnerships with the foreign countries, in association with the movie studio Tajikfilm in the 1970ies. It was directed by Boris Kimyagarov , and produced by his daughter Lilia Kimyagarova. The cameraman was Zaur Dachte. The film includes well-known artists such as the opera singer, Hanifa Mavlianova, ballet dancer Malika Sobirova, dancer and actress Gavhar Mirjumajeva, the singer Jurabek Murodov (background singing), and Allo Alaev. The film showcases the development of a multitude of applied, visual, and performance arts in Tajikistan, from the ancient times to the period contemporary with the movie's filming, ending with a display of the architecture of the moderns streets of Dushanbe.

Report No. 10 in a series of 13 topical films, covering: Hovercraft, Princess Ann; the Advanced Passenger Train; Design Centre exhibition, The next train; plasma torch, Derby Technical Centre; analysis of diesel oils, Glasgow science laboratory; bleep radio communications, Paddington; resignalling, Derby area; intercity coaches; evolved suspension, the Brighton Belle; Southern Region grouptravel; computer, Eastern Region; shipment of molten iron.

Sparse chapters from a mysterious, lonely life are witnessed from a passing train.

Profile of the controversial 'economic overlord' of northern England.

Experimental arthouse film taking satirical views on war, politics and religious beliefs.