All Films

Film inspired by folklore about the adventures of three simple minded souls.

"A view of a brick wall: the artist enters and walks from one side to the other, back and forth, row after row." - Electronic Arts Intermix

Demonstrates how police behavior can increase or diminish the hostility potential in everyday occurrences in law enforcement. Sequences illustrate such typical problems as a street corner gang, a speeding car, a barroom brawl, and a campus demonstration.

Nancy Graves statement, 1971: "Izy Boukir contains footage filmed in the Sahara during eighteen days. I wanted to extend sequences [from earlier films] and to a greater degree permit the animal motions to determine structure. An Arriflex [camera] was often positioned five to ten feet from the animals. In New York, partite animal forms were separated into two segments: as walking and as graduated motion. Through the edited sequential duration, camel morphology vies with the viewer's inherent anthropomorphism. For me this film is the most successful in that the impression of these animals as primordial beings existing in barren yet awesomely beautiful surroundings far outweighs a consciousness of complicated editing and sound relationships."

Hrích boha (God's Sin) is Agnieszka Holland's poetic vision of the world as a trap, based on the novel by Isaak Babel.

Animation about Merlin inventing a toothbrush and toothpaste to stop the decay affecting King Arthur's knights due to their consumption of sweet food.

The drawings on which the series is based were created in 1969 and served as a template for a slide series in 1970. During its screening, this is interrupted by the film "Percy McPhee Agent of Horror (6th + 7th episode)".

This short film captures the beauty of a process that has persisted since the Stone Age. Sharing one of the recurrent stylistic motifs of the Georgian documentaries shown here, an uncanny atmosphere is created by the use of post-production sound and chiaroscuro lighting. In effect, the removal of the bread from the oven is witnessed with the same sense of wonder as would greet the appearance of a flying saucer. When sticking the dough to the tandoor, the baker moves half of his body into this dungeon – an image at once frightening and mesmerising. Nowhere else has bread been seen like this, save perhaps for Night of the Living Bread (Kevin S. O’Brien, 1990). But this is hardly a parody: here the most essential human foodstuff meets an expressionist sensibility. In fact, along with Manoel de Oliveira’s O Pão (also showing this year), Khabazebi presents some of the most beautiful images of our daily bread on screen.

A short documentary about the making of David Lean's 1962 film LAWRENCE OF ARABIA. Some behind the scenes footage comes from the 1963 promotional featurette with a similar title but includes new footage, a new narration and adds an audio interview with the film's star Peter O'Toole.

An existential pictorial poem about human life. "Can they stand it? Do they never feel?" (DFI)

Standing alone among beach dunes, Acconci begins to kick at the sand below him. Over the course of the film's ten minutes, this repeated action displaces sand at a steady rate: as the artist sinks lower into the hole he creates, the mound of sand before him grows in correspondence.

Documentary about Croatian Ustashe terrorists and their attacks in Yugoslavia.

A poetic story of love and parting between a young man and a young woman. Based on Lesia Ukrainka’s one-act drama.

The documentary is divided into three large segments, which ironically about the "press of the movement"

Film composed of eight animated shorts starring agents Mortadelo (Mort) and Filemón (Phil): Information Agency; The Hong Kong Vase; Against the Pison; They Get on a Plane; More Than One Thief; Escaped from Prison; Genius or not, That's the Question.

The film begins with a shot on the countryside near Padua. A young man goes slowly towards the camera carrying a big red flag, referring to the student revolts of 1968. The camera follows the protagonist ..

A short documentary on the film works directed by Brazilian pioneer Humberto Mauro. With an extensive career that began in the silent era and then moved to the talkies, Mauro was recognized as one of the most important Brazilian filmmakers of all time.

A concentrated look at one of America's early Pop artists, the film was made during Dine's 4-year residency in London. Actively at work in his studio on several large collages, one can clearly see Dine's masterful balance of artistic freedom and control, as he adds and modifies illusionistic images, written words and real life objects to his compositions. The artist talks about his connections to literature and about his frequent collaboration with poets; he also discusses his own poetry, some of which he reads for the camera. The parks and streets of London are the setting for Dine's frank comments about his voluntary exile in that city. On one walk, Dine encounters Gilbert and George as they endlessly repeat "Underneath the Arches" in bronze make-up, their earliest performance piece.

In 1970 I went to New Orleans with Noel Parmentel to shoot fragments of the “The Moviegoer.” While we were down there my daughter Elspeth and I went to visit some friends of mine whose teenager daughter was to be Queen of a fancy Mardi Gras ball. I didn’t know anything about this, but my friends thought it would be a nice idea if we filmed it. So we went over for an evening; black tie, dinner gown and all the rest of it. We changed a few light bulbs in the house and unobtrusively filmed the evening. I ended up making a 12-minute short with my daughter Elspeth taking sound. – Richard Leacock

The film consists of several short stories. Between them, always the same leitmotif appears – a short joke with a different ending. The stories are always about absurd and ridiculous situations depicting the relationship between a man and birds.

Moving people from homesteads to settlements. Families are filmed and interviewed in their old backyards just before they move out.