All Films

Tractor driver Pronka Lagutin comes to the city. Meeting the director's assistant unexpectedly turns into an invitation to him to play the role of a rural guy who moves to the city. Pronka rehearses with pleasure, but realizing that staying means never seeing her native village again, she runs away from the director.

The film introduces a selection of various guest types in cafes and night clubs in late 1960s when old ladies still had some bourgeois manners from the first republic of Estonia and the youngsters of the Soviet regime were not served in a restaurant if they had no proper clothing. The guests of Tallinn's legendary cafes "Pearl" and "Moscow" were filmed in their own time. The uniqueness of the film is expressed through a strangely independent soundtrack that observes everyday bustle from the heights of melancholy poetry and remote uranography. Artur Alliksaar's poetry is read by Aarne Üksküla.

The dangers of drug use by teenagers are illustrated by showing how well-dressed, happy teens are turned into slovenly, long-haired, drug-addled potheads who don't know that, according to the film's drug expert, “in high dosages, it [marijuana] parallels LSD.”

Self-Portrait is a 1969 film made by the artist Yoko Ono. The film consists of a single 42 minute shot of the semi erect penis of her husband, John Lennon.

Part of BFI's "National Coal Board Collection".

A couple rooms at one of those kitschy lovers' getaway hotels.

The story about an elephant who could read but not write.

A portrait of Eric Lyons and Span, under the scrutiny of Ian Nairn, as well as the residents of their estates.

The disappearance of some nail clippers in a hotel room puzzles the owners of the capricious object.

With a very personal style, Marilyn Contardi, which will materialize in the films that will be made at the Film Workshop, tells the story of Santa Fe, and its laborious transfer to its current location.

The unexpected adventures of children on a school cruise to Portugal and North Africa. In Tangier, Steve, whose hobby is detecting, suspects that a parcel carried by another boy is contraband. Steve and his pals get into trouble trying to get hold of the parcel, but, in the process they uncover and foil the plans of a passenger to smuggle a stolen painting back to England.

While I was staying in New York in the 1960s during the rise of the hippie movement, I filmed performances of body painting by the artist, Kusama Yayoi, together with the performers. As I wasn't satisfied with merely documenting her performance, made super-impositions of flowers over the performance, more as a film poem than a documentary, since flowers was the symbol of the hippie movement as given the name "flower children."

A promotional movie that was shown to Kirin Brewery factory visitors at the time. Japanese history and family memories intertwine with a musical interlude that introduces song-by-song the industrial brewing process by a cute "Beer Spirit".

A young girl relates what happened during her first LSD trip, when – among other things – her food began talking to her.

In just four months, the world's first jumbo jet goes into regular service over the Atlantic. Already 200 have been ordered by the world's airlines. Each is designed to carry nearly 500 passengers. The jumbo has been called a 'pilot's dream.' But will it also be an airport's nightmare? By next year, half a dozen of the giants may be queuing at peak hours to disgorge their passengers at London Airport. Round the world, airports face their biggest jam in history. Jumbo jets will revolutionise airport design. But they may also speed up other travel developments, with far-reaching effects on the design and peace, of our cities.

Professor Balthazar goes on vacation to the South Sea where his friend Hannibal is a lighthouse keeper. Hannibal loves ice cream, difficult enough to find there. His request for transfer is denied until he can arrange a replacement: Johan the yodeler from the Alps.

Two years before Peter Watkins’ Punishment Park (1971), director Penelope Spheeris takes the McCarran Act to its inevitable next step and shows us—via an early use of mockumentary—what the U.S. might be like if potential subversives were simply locked up en masse before they had a chance to subvert anything. 16mm, color, 12 min. Director: Penelope Spheeris.1969. Preserved by the Academy Film Archive in 2016.

White little bear hides from his mother friendship with a human who smells smoke.

Film shot one frame at a time, of three faces, including a brother and sister, which merge to become one, followed by a short sequence of minimalist gesture.

Jonas Mekas zoomed in from a completely different angle for his Time & Fortune Vietnam Newsreel. This fake interview with ‘Lapland’s Minister of Foreign Affairs’ brings an outsider’s perspective to bear on the US war, and discusses with ironic perplexity if it might not be possible to kill off the Viet Cong more cheaply. For, whilst white students in the US primarily took issue with the war in South-eastern Asia, African-Americans remained predominantly concerned with their own situation. For them, daily discrimination at home and the Vietnam War were simply two faces of the same racist coin

Trixi is Dwoskin’s most convulsive version of his recurrent theme: the confrontation of a solitary girl with the camera. Shot in one continuous 8-hour session. Trixi records Beatrice Cordua’s responses to the situation, from initial shyness, fear and withdrawal through teasing and posturing to naked surrender and final exhaustion …. The camera is highly mobile; often confronting the girl in extreme close-ups, sometimes swooping down from overhead, sometimes searching to “recapture” her …. The camera itself is the object of erotic desire, [in] the sense of giving a performance shifting imperceptibly in a helpless self-exposure in response to its constant stare. Clearly, the form of the film was dictated by the response of the performer. Beatrice Cordua proves Dwoskin’s most expressive subject to date, and the film is correspondingly “open,” the camera having been willing to choose its tactics as direct responses.

A fictional documentary that portrays the city of Dakar, Senegal, as we hear the conversation between a Senegalese man (the director, Djibril Diop Mambéty) and a French woman, Inge Hirschnitz. As we travel through the city in a picturesque horse drawn wagon, we chaotically rush into this and that popular neighborhood of the capital, discovering contrast after contrast: A small African community waiting at the Church's door, Muslims praying on the sidewalk, the Rococo architecture of the Government buildings, the modest stores of the craftsmen near the main market.