Let's pretend that the friction between mono- and dicotyledonous forms (between, say, "lilies tulips the hyacinth" and "fruit blossoms the briar rose the passion flower" or, as here, English ivy) generates green. Partially computer generated. "What triangles do when no one is watching." - Andrzej Ehrenfeucht
Three people living in a burned out building after an undetermined holocaust has taken place take in an odd creature from outer space, who is apparently on the run from government sources.
The exploration of pattern-making is based on a comparison of dynamic forms found in nature – reflections, wrinkles, or ripples – filmed in detail with a handheld camera, and shots of the texture of woven carpets and fabrics. It culminates in the performative action of wearing, drying, and mounting the material, perhaps a canvas ready for further creation.
"Carandiru Women's Prison. An opportunity to talk about the freedom, loneliness and hope of women who, although incarcerated, keep their dreams alive." Adopting the semi-open prison regime, a penitentiary in São Paulo allows inmates to work outside. According to the psychologists of the establishment - who during the film talk about the scientific level and the practical results of their work - this system is seen and developed as a fair achievement of the inmates and not as a privilege, gradually ensuring their social reintegration. In their testimonies, the inmates expose the problems they face on the outside in the face of a society that marginalizes them, even after they have served their full sentence. Stimulus Award from the São Paulo State Culture Secretariat, 1982.
The films of Thomas Feldman are represented neither by the imagination nor (less) by the course of events. Until the end of the films, their true nature is the drama that finds a place at the borders and edges of existence, in which it will focus and intensify and that is why it is an image. . The action takes place less in the images than between the images, in the narrow sphere of darkness, which joins the image with the image and from which they draw their mystery… Movements, rhythms, cuts: these elements give Feldman's films their body language, the invocation of their materiality, their eroticism. All the films are marked by the unforeseen: like sudden pain, like blossoming happiness, like the transgression of limits or barriers, like the explosion of colors.
A documentary short examining the Sinai Peninsula following the withdrawal of Israeli forces in the early 1980s.
A short documentary about the Upper Egypt train.
Mohan, a singer is framed for a murder and his father, who is an honest cop, is also framed for a series of diamond heists. Will they be able to prove their innocence before it's too late?
Haitian Song is an anthropological film about farmers in rural Haiti. The film follows Gustav and Zillmen and the everyday rituals that mark their lifestyle.
An impressionistic piece of work, composed out of several movement experiences. A landscape glides by behind a rainscattered train compartment window. In fact the journey goes nowhere, although a map suggests the contrary. As useless as the automatic panning controls camera in a large clothing store only reflects clothes horses. Also shots from a car on the highway, pictures of combat planes on a military airport or shots in the Amsterdam subway are not focused on telling a specific story. Sometimes they are transformed into abstractions, literally and emotionally. They are daydreams backed up by rhythm and sounds from Heyink’s synthesiser.
Visual memos by Auto Awac, the group name used by Kees de Groot, Frank Morsinkhof, Ron Sluik and Emile Toorop. Small personal events and ordinary technology alternate. Subjects like a digital clock, a laundromat, a recorder and a filmclip promoting an electronics factory are experienced just as subjectively as walking through a cornfield or living in a dormitory. On one page of this visual diary is a musical improvisation - one of the artists plays the trumpet for the first time; on another, pieces of a TV show. This romanticism of the technological society is borne not only by impulsively chosen and reworked pictures, but especially by its own electronic music. The initial title of (a part of) the work has been 'In the Interest of Science and Technology'.
Nostalgic old postcards in a not so nostalgic bawdy collage birthday present for the star of MOTHERLOVE.
Music: The Republicans, The Appliances, and The Suburbs "THE NIGHT BELONGS TO THE POLICE concerns a burned-out agoraphobe (Jerome Carolfi), his frustrated girlfriend (poet Tess Gallaher), a wonderfully kinetic proto-punk Tinkerbelle (Michelle Davis), and a malevolent network of chiropractors. A satire of fashionable nihilism, it manages to simultaneously mock and embrace the so-called posturing of the so-called New Wave. It is, most of all, funny."–Chris Ward, CityLights
An Australian film
People perform their favorite movie songs
An experimental documentary that takes world-building to an entirely new level, Rites of Spring showcases fragments of Iran’s history before, during, and after the Revolution of 1979. It begins with scenes of daily life, working-class people, and extensive shots of farms and nature. When the Revolution hits the country, the new focus becomes demonstrations, leaders’ preachings, and scenes of strife, revealing the constant fear and chaos that hover over the country. The birds that break out of their eggs toward the end signal an undeniably effective promise of a new beginning for a country that oscillates between revolution and war.
Against the odds, same sex couples in Oxford get the right to register for council housing, but for how long?
"Retrospectively, I could say that this work, realized collectively, was an essay of animation cinema, a clip with no other pretension than the pleasure of associating images to a song of the group Gang of Four. Our bias for the graphic framework was to take into account the rhythm and the sound atmosphere of the song, a few key words from the text and the images filmed during the concert."
