All Films

A mosaic pattern in which various animals are chasing each other.

Kurt Kren filmed pieces of feature films in the cinema without looking through the viewfinder. The missing sexual climax from the cinema was added by Kren in the form of insights and views from Otto Muehl's Libi Aktion.

The landscape surveyed here might be the estranged interior of your typical East-European émigré animator’s skull; with its deranged narrative values, artfully disturbed graphic style, and aggressive "musique concrète" sonorities, Kamler's are among the most astounding works you'll ever see... In company of Walerian Borowczyk, Peter Foldes & Arcady, Kamler is the successor to a prestigious tradition of East European émigré animators (think: Alexieff, Bartosch, Starewycz). Like their precursors, they are also among the most distinguished artists in cinema, celebrated for their graphic style and narrative experiment.

Independent animation by Shimamura Tatsuo.

The Aardvark's vacuum cleaner, intended by him to inhale the Ant after his own snout becomes corked and bottled, ingests an angry bear.

AFL-CIO short about barbers and beauticians.

For his directing debut Ian Palach, Raymond Depardon, photographer and co-founder of photo agencies Gamma and Magnum, travelled to Prague in 1968. There, on 25 January, the Czechoslovak student Jan Palach was to be buried. A few days before, this young man had doused himself with gasoline and set himself on fire, in protest of the Russian occupation of Czechoslovakia and the purging of the members of the Prague Spring movement. Palach's political self-sacrifice does not remain without consequence for long. Although the government did its utmost to discourage the Czechoslovaks, 800,000 mourners gathered to form a long, impressive cortege as forceful evidence that Palach was not alone in his protest.

“For Black and White Film, Huot created his own photographic imagery for the first time. After a few moments of darkness, a young woman (Sheila Raj) lowers a covering of some kind, slowly revealing her naked body. She reaches outside the circle of light, which illuminates only her silvery form, scoops up dark paint, and, beginning with her feet, gradually paints her entire body. When she has become invisible except for the faint sheen of the paint, she drops her arms, looks straight ahead, and the film fades to total darkness. The serenity of the film, which is structurally reflected by Huot’s presentation of the action from a single position in a single take, its sensuality, and the aura of ritual it creates (Raj always moves in a formal way and, except when she needs to look for the paint, looks modestly down) make Black and White Film a quietly haunting work.”—Scott MacDonald, “The Films of Robert Huot: 1967 to 1972”, Quarterly Review of Film Studies, Summer 1980.

Documentary about the sculptor António Duarte

A short look at various seasonal activities offered in the Tyrol region of Austria.

Pete and Sandy get permission to go trick-or-treating by promising to avoid mischief. So, they inveigle two younger boys to play a prank.

Live Between Evil is a departure from Shead's experimental style and aims at realistic recreation of bourgeois life on Sydney's Upper North Shore.

The animation referred to as Early Animations or Quacked Jokes is an anomaly among Beckett's films. It was probably not intended to be shown outside of his sphere of friends, being a collection of early experiments and directions. While lacking the sophistication and artistry that is found in his six finished works, this film provides invaluable insight to his first attempts at animation and clues to some of his later work. - Pamela Turner. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

The Harlem Cultural Festival of that year, which would come to be known as “Black Woodstock,” had, on its surface, little in common with the upstate hootenanny. Held in Harlem at Mount Morris (what is now Marcus Garvey) Park, it was a self-consciously urban affair, a concert series rather than a one-off, and already in its third year.

Black and white with some color hand-applied to each print, hand-painted image, hand-painted sound.

Film record of the 1969 wake of Jan Palach in Prague, Bratislava and Brno.

Graphic afterimages of photos documenting the Holocaust: the architecture of Auschwitz-Birkenau, bodies thrown on wires, skeletons of those who died of hunger, close-ups of the faces of people who got off the train. Plastic forming turns them into abstract stains. The film begins with an inscription carved in the wall. It says ‘Later definitely there will be no camps, there will be no states, people will not kill themselves’. It explains the intent of the title. Modern people live in too much of a rush to remember this.

A documentary about a music school based on finding the rhythmic quality in every child, focused on the visual and auditory rhythm of children’s movements.

In 1969 Swedish television was split into two channels and to celebrate this satirical revue was made.

This work is an extension of Jonouchi’s documentation of Hi-Red Center’s performance event, Shelter Plan (1964). Using the same unique shooting and editing techniques adopted in the Gewaltpia series, Jonouchi put on record the process of destruction of Frank Lloyd Wright’s renowned architectural piece [the Imperial Hotel], which was the site where Shelter Plan took place.

Join distracted onlookers at a protest “be-in” at Camden’s Roundhouse –alongside portraits of Lenin and a giant inflatable phallus.

Minimalist movie making at its best: kids learn the art of film language using illustrations and margarine boxes.

A mirror and satire of modern society, this film, without commentary, uses symbols, sounds, suggestive images, and signs to invite the viewer to reflect on the various forms of oppression—money, authority, prohibitions, and incentives—that constrain contemporary man, steal his time, and degrade his conscience and moral values.