Metai 1977 - 261

"A sculptural and quasi-performance piece involving discarded Christmas trees. A meditation on passing and the things-left-behind." –RM

Philly documents a 1976 performance at the Philadelphia Museum of Art, in which Wilke interacts with Marcel Duchamp's Large Glass. Edited by John Sanborn, the piece juxtaposes behind-the-scenes dialogue and preparations with the performance itself, showing us a playful Wilke.

Propaganda documentary in which the Armed Forces try to justify the Argentinian military coup d'état of 1976.

A recording of a clock ticking for 7 minutes.

An animated short about the titular event.

Cultural and perceptual contrasts are evoked in this non-linear mythic episode in which a hammer, a paintbrush, a bucket, a pile of clothes, a window full of globes and a couple are manipulated via the filmmaker/demi-urge.

A film based on the exhibition organized by the National Gallery that toured Canada in 1975. The paintings are juxtaposed with black-and-white newsreel footage of the more obvious social realities during the years of the Depression. The film shows that the artists of the day, in spite of economic setbacks, produced an inspired body of work.

Sometimes Hannelore wishes she were a Hans, because “when a woman has to deal with a lot of men, she has to summon up a lot of strength to be heard”. The mayor of the island of Ummanz off Rügen used to be a cook. Now she represents the government and demonstrates “socialist democracy in action”. Director Róza Berger-Fiedler weaves Madam Mayor’s encounters with her constituency and discussions about the office with all its responsibilities into a sensitive portrait of a dedicated person.

Eclamorphoses balances a loop of sound (by La Monte Young) with loops of visual material derived from re-photographed slides of amorphous painted abstractions which are carefully and systematically permuted by super-impositions, scratches, punctures, slices, reticulated paint-on-the-film-strip, step-printing, changes of projector speed, and finally zooming of the image with the projector lens and live manipulation of the projector and light beam (with a hand-held prism).

Through the use of original and appropriated video footage, Auder translates a religious sermon into an expression of love for this strikingly beautiful woman. This lovers tale opens with a photograph of Denise that is alternately caressed and crushed in the palm of her lover's hand; a gesture oscillating between affection and an obsessive and irrational desire for possession. Auder builds on the increasing grandeur of the sermon's metaphors, extending them into the realm of destruction. The mood undergoes a violent shift as what was once fruit and flowers abruptly gives way to catastrophe. Featuring the music of Philip Glass, whose acquaintance Auder made in the early 1970s while producing work for The Kitchen.

On est tout seul dans son cercueil is a fake satirical documentary in which Philippe Simon expresses his deep disgust for the film production system, mercantile and inept.

The films concerns the "duration" (or non-duration) of one frame, as the title indicates, the minimum unit of film in space (dark and light) with sound (or silent) and their various combinations.

The tragedy of an African Princess who turned her back on love which money buys.

Anamorphoses of television images combined with fragments from Jerome Bosch’s Garden of Delights painting.

14 year old Freddy fails at livening the party with wine.