All Films

MANOJHARA portrays – in their own words – the experiences of the residents of Paraguay’s Santa Isabel leper colony. They narrate images of life in the colony with statements about moving from the periphery of the colony, where the healthier patients stay, to the center, where the dying patients are, as well as anticipation of a celebration and not wanting to feel ill and outcast.

A pair of shipwrecked lovers are captured by a Prince who hopes to make the woman his bride.

Experimental short.

The only film to be both conceived and directed by Miroslav Štěpánek, using folk art from old market shooting galleries as the basis for a totalitarian parable.

An elderly couple on the day of their anniversary.

A minimalist homage to a now-defunct local eatery.

A short poetic evocation by Sara Gómez of Isla de Pinos, the island where Fidel Castro was imprisoned by Batista, where the revolution builds a new society. A juxtaposition of the Presidio Modelo prison with citrus production.

"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun." - Gene Youngblood. Preserved by the Academy Film Archive in 2014.

A Tibetan Lama. His disciple. The disciple's wife, young boy and terrier. An old tugboat crossing the Mississippi River. A man in his seventh month of solitude. His hermitage built by his own hands. The man's bloodhound; his cat. Clouds crossing the Continental Divide. A mountain stream. A girl. The sun.

Using fixed frame timelapse, 15 hours of a day in the mountains, showing the changes in the sea and sky, is compressed into eight minutes. Designed originally to be rear-projected onto a plexiglass screen framed in a false wall by a traditional wooden picture frame.

All the old delight, innocence and anticipation are still here in this telling of a children's classic. The pretty little girl, her grandmother and the wicked old wolf have stepped from the storybook onto the screen through the magic of animation. It is a film that all children will enjoy--as will adults who like reassurances that evil gets the chop in the end.

Recordings of a speech Bobby Seale held in Scandinavia intercut with roving streets and images.

Although they start out fighting over a game of checkers, Paula and her brother Woody painstakingly reflect on what it means to be a good sport. Another entry in Coronet's Beginning Responsibility series.

A film by an early British pioneer of computer generated filmmaking, Now foregrounds colour discs and other circular shapes, featuring both abstract and photographic imagery. Denys Irving was a musician – also known as Lucifer – and a member of London’s alternative scene in the late 1960s, early 1970s who collaborated with bands such as The Pink Floyd and Soft Machine and underground publications including the International Times and Oz magazine. It was during his time as a student in Columbia University in New York that he started working with computers. He also pioneered projection systems for psychedelic effects.

The third year of the Sigui ceremonies, celebrated every sixty years by the Dogons of the Bandiagara cliffs, Mali, takes place in the village of Bongo.

A sexploitation short warning that mixing weed and alcohol can be bad.

German agitprop film.

A young man travels to collect his inheritance left to him by his late uncle but discovers that the man dabbled in the occult.

A short film about understanding the differences between ourselves and others.

Film inspired by the beauty of medieval tombstones, stećaks, scattered around the mountains of Bosnia-Herzegovina and Mak Dizdar’s poem about them. Film explores the distant past immortalized in inscriptions on these ancient tombstones.

In 1972 Tonguç Yaşar, together with the famous art historian Sezer Tansuğ, made How the Boat of Belief Proceeded, a beautiful graphic exercise based on the shapes of the old - and today abandoned - Turkish alphabet. Screened at the Annecy Festival of 1973, this film enjoyed considerable success and influence, and was the one that opened the era of 'personal films' in Turkey.

The title of this film, which combines flicker effects and comic strip elements, refers to an old belief that each solar eclipse produces a war.

Fotogrammar, like Inkaboos, was created during a period where Grush collected images and experimented with abstractions. By placing very small objects directly onto raw film stock (watch springs, metal shavings, etc.) and exposing the film to light, Grush created Fotogrammar. Sequences were hand-tinted with dyes and in some cases printed symmetrically. The film scenes vary from colorful lines to colorful mechanical pieces, and many shapes in between. Fotogrammar was shown at the 8th Ann Arbor film Festival in 1970. The music in this film is from the Grateful Dead song, “Viola Lee Blues”, and can also be heard in Phosphene.