All Films

A unique copy of the 16mm experimental masterpiece by Pierre Clémenti, restored in 2003 by the Neyrac Films Laboratories.

In a beautiful teahouse setting, the historical background and current social role of three major Japanese instruments, the koto, the shamisen and the shakuhachi, are discussed. Includes traditional Japanese singing and playing, with a performance by an ensemble of the instruments.

In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.

The Homeland of Electricity, Larisa Shepitko's adaptation of an Andrei Platonov story, was one of three short films collected in an omnibus work (Beginning of an Unknown Era) commissioned to honor the 50th Anniversary of the October Revolution. Censors eventually shelved the film and it would not see the light of day until well after Shepitko's death, during Mikhail Gorbachev's perestroika.

Body Collage is a visceral "movement-event" from 1967, in which Schneemann paints her body with wallpaper paste and molasses, and then runs, leaps, falls into and rolls through shreds of white printer's paper, creating a physicalized corporal collage. "My intention was not simply to collage my body (as an object), but to enact movement so that the collage image would be active, found, not predetermined or posed," writes Schneemann.

The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time. —Andy Ditzler. Preserved by the Academy Film Archive in 2002.

Stop Look and Listen is a 1967 sort comedy film written, directed by and starring Len Janson and Chuck Menville. It was mostly filmed in Griffith Park in pixilation [stop-motion photography].The film generates comedy by contrasting the safe and dangerous styles of two drivers who drive in the way made famous by Harold Lloyd: by sitting in the street and seeming to move their bodies as though they were automobiles. The film was nominated for an Oscar for Best Short Subject, Live Action.

The great illustrator Errol Le Cain animated this rare short film for the Richard Williams Studio in 1967, as his "apprentice work." Professor Alex Bradford sings the catchy gospel soundtrack. (from TheThiefArchive on YouTube)

An instructional film by Bruce Lacey.

In their search for work, a group of workers face familiar frustrations. Cedrón raises his own conflicts and tries to understand their cause. As in all his other films, the director sets his sight on aspects of reality that are not well observed.

Using Bell Lab's pioneering research facilities, Paik creates a starkly minimal experiment in computer imaging, in which a shifting dot appears on a black ground.

Breakaway plays out like a visual symphony. A prototype for the best (but still, lesser) contemporary formalist music videos, like Peter Care’s “What’s the Frequency, Kenneth?” and “Drive” (both for REM), Conner’s movie is an experiment in the visual language of film. But no matter how powerful a formal analysis of his filmmaking process may be in suggesting how Conner’s rhythms affect us, there is much in Breakaway – in Basilotta’s brash and unbridled self-assertiveness, in Conner’s feverish camera style, and even in the uncomplicated honesty of Cobb’s catchy lyrics and tune – that defies verbalisation… and must simply be loved! -- Senses of Cinema

1967: Two of the world's best climbers, Yvon Chouinard and Royal Robbins, tackle the west face of Sentinel Rock, an iconic 2,100-meter granite peak located in Yosemite National Park, considered one of the most difficult in the world. The film's atmosphere is immersive, driven by a sober narrative that highlights the intimate relationship between man and the wall. The technical difficulty of the route, the prolonged physical effort, and the isolation reinforce the heroic dimension of this ascent. The documentary also reveals the essential solidarity between the climbers: each progression requires rigor, inventiveness, and total trust in both the equipment and the partner. This film is considered a benchmark in the history of mountain cinema. It testifies to the pioneering spirit of the era and the evolution of climbing techniques, perfectly illustrating the transition to a more athletic and thoughtful approach to large rock faces.

In the Search of the Miraculous is a multi-levelled story realized with extremely personal techniques and with the kind of atmosphere of Poetry and Introspection, only a poet could create. It is, in fact, the story of a poet searching himself through his love for a girl, and of the girl searching for her father. Obsequious to the iron rules of the avant-garde, the film has neither a beginning nor an ending it is a series of moods, it is a search which is at the same time spiritual and concrete, it is a moment in the life of two people. (Donatella Manganotti)

A voice, warm and heartbreaking, that of Brisseau himself, coils over black and white images. The tone was set very quickly: "To wake up is to be born again in the world of despair." 'On Sunday afternoon' is a film all at once clinical and theoretical on melancholy in the strong sense of the famous "black bile" of the Greeks whose author seems to want to make a complete turn, from his tragic dimension to his psychological dimension, even ending his film with a long quote from Freud's 'Mourning and Melancholia'.

In an underground city in a dystopian future, the protagonist, whose name is "THX 1138 4EB", is shown running through passageways and enclosed spaces. It is soon discovered that THX is escaping his community. The government uses computers and cameras to track down THX and attempt to stop him; however, they fail. He escapes by breaking through a door and runs off into the sunset. The government sends their condolences to YYO 7117, THX's mate, claiming that THX has destroyed himself. Electronic Labyrinth: THX-1138 4EB is a 1967 science fiction short film written and directed by George Lucas while he attended the University of Southern California's film school.

Surveys ways in which Americans use water resources for recreational activities, including rafting, diving, surfing, sailing, and boating. Points out the need for water conservation.

Biographical short about the American Pop Artist by James Scott

Concert performance produced for UNITEL in 1967

This pop movie about Warhol includes appearances by Henry Geldzahler, Edie Sedgwick and The Velvet Underground.

RED NEWS (1962-67) considers the interplay between media, entertainment, and violence. "I also had Red News simultaneously, that magical little film that I also found mystically by closing my eyes and putting my hands up in front of a whole wall of 16mm films and I just pulled it and it was this perfectly remarkable compendium of disasters, a little feature that they showed at contemporary movies, Movietone or something, and it was just one disaster after another. A boat blows up, motorcycle racers blow up. It was very satisfying, one explosion after another, and then it cut to Santa Claus appearing for the American Legion."

Mistaken for a bank robbing lookalike, The Inspector is sent to prison and his efforts to escape prove a hopeless challenge.

Short film with footage Bergman shot of his infant son and later included in the Swedish omnibus film "Stimulantia" (1967).

Hollywood opening credits with crashing sea waves and expectant orchestral music opens the film. Then the viewer's gaze is carried through a room. In a mirror you see for a moment a naked girl holding the recording subjective camera under her arm, she pulls open a drawer, puts the camera inside and closes the drawer. The viewer's gaze and thus the viewer himself is caught in the darkness.