Joer 1985 - 306

Compositions of planes, which originate from cross-sections of a cube, parallel to its three main axes.

“If there’s a film of mine that makes the case for multiple viewings, it’s (Reel #2). This has to be seen several times to be seen at all. The transition from filmmaking back into painting is here in the ‘props’ — 2″ clear tape strips of gorgeous debris (thread, film & petals) which later joined and grew into wall hangings, then eventually paintings. This is the level of metrics, the visual resonance I was always chasing.” (J.B.)

Kids build a donkey, a rocket, and a fortress out of snow.

A chronological look at the various manifestations of the presence and fight of Puerto Rican women as part of our history.

Approaches topics such as reproductive welfare, gender, and women’s participation in local society and politics.

Frenetic and impressionistic, this nocturnal foray through San Francisco's streets (heightened by a stop at a nightclub) delivers a thrill-hit of ebullient adrenaline. The rush of excitement, of anonymity, of adventure, of being alive, of potentially meeting someone new is palpable. Somewhere in the middle of this burst of gorgeous black-and-white, the neon takes on a life of its own, squiggling into infinity. "This is about living fast and dying peacefully," the filmmaker said at the time, which adds another layer of poignancy. - Michael Fox

Hyeran is from an orphan, but attends college with the care of the orphanage director. One day she has her body stolen by her manager, who has a black heart, and Hye-ran steals her manager's bankbook and she leaves the orphanage.

Documents the massive attendance of Puerto Ricans at Rafael Cortijo's funeral, one of the maximum exponents of Puerto Rican music. This experimental film is one of the few surviving records of his burial.

Influenced by abstract expressionism, a series of black and white high-contrast positive episodes characterized by intense bursts of light and deep shades of black.

Slayer at Dynamo, Eindhoven, Netherlands Hell Awaits Aggressive Perfector Captor of Sin Praise of Death Haunting the Chapel The Final Command Crypts of Eternity Necrophiliac Black Magic Die by the Sword Hardening of the Arteries Fight Till Death The Antichrist At Dawn They Sleep Drum Solo Show No Mercy Evil Has No Boundaries Chemical Warfare Kill Again

Official entry to the first Metro Manila Film Festival in 1985 directed by Pepe Marcos and starred Ramon Revilla, Jr., Lani Mercado, Lyka Ugarte, George Estregan, Raoul Aragonn, Perla Bautista, Rez Cortez, Conrad Poe, and Bomber Moran.

Koreans fight against the Japanese.

In this short animation a single room is the setting for a lyrical dance through time about family roots. The objects in the room swirl, rearrange and change themselves to reflect the passing seasons, years and generations. As Victorian Christmas fantasies give way to computer-age realities, the procession of objects reaffirms the values that endure the vagaries of fashion and the ravages of time.

Misaal overview.

A synthesis of documentary, dramatic, and experimental styles, this film follows two women recollecting their personal and familial experiences from World War II. One woman recounts the story of an aunt from story Hiroshima whose father had been a member of the peace party when the militarist government forced its way to power. Exiled from Japan they were then interned with Canadians of Japanese descent. The other woman recounts the details of her experience as a young nurse on the morning of August 6, 1945.

This is the theme of the film: The secret of objects in the huge space and time curve: the not-being-able-to-recognize, the not-being-able-to-grasp, the not-knowing. The curve is presented in the film as a miniature: 24 hours (morning, day, evening, night, morning) condensed into 40 minutes.

Video collage set to a harsh noise track.

Directed by Najib Sefraoui.