.Yl 1982 - 281

The video works 'Traumasyl' and 'Jukai, the Sea of Trees' are characterized by a cinematic and associative style, in which atmosphere plays an important role. There is certainly no word of a plot or unambiguous content. Influenced by the Italian film maker Michelangelo Antonioni, he draws a picture here of mental and physical oppression. A monitor in an empty room alternately shows the faces of a woman and a man. Their lips are moving, but you cannot hear their voices. Their faces are 'blindfolded', and 'tied up' with a rope which is fastened around the monitor. Then there are images of the woman in the empty room in which she looks at herself on the screen and in a broken mirror. Locked up in this circuit and her own thoughts, she is unable to make contact.

The Costa Rican situation of women incorporated into the production in a double shift, jobs and housework.

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.

Architect and urbanist Sérgio Bernardes (the film director’s father) designs a hypothetical zoning plan to rescue a city on the path to ruin due to chaotic and unorganized development. The seemingly long takes are in contrast to the editing, which is meant to evoke chaos and emphasize the ironic progression

16mm experimental film shown at 4 frames per second

"...We came to the conclusion that the event recorded on the film does not have to be logically interpreted or named, because its meaning or even nonsense is justified by the fact that this phenomenon took place in a state of war."

In long takes with few cuts, women talk about their lives. All the conversations are shot in interior rooms, attesting to trust and great candour. They talk about work, relationships, what’s left of the day, and families – which is naturally political. Chetna Vora began studying directing at the HFF Babelsberg in 1976. Frauen in Berlin would have been her first feature film; however, the HFF broke off production before it was finished, and the negative material was largely destroyed. What remains is a rough version that was secretly filmed on video beforehand, an invaluable and candid document, especially in this form.

About some aspects of Bedouin life on the northern coast.

The young Rui Ramos constantly turns his life into amazing dreams due to the influence of novels, comic-books and movies.

Shows indirect language stimulation techniques for children highlighting such concepts as child centered parallel talk, object centered description and self-talk.

A visit to the zoo with an unauthorised Pink Floyd soundtrack.

"A silent, in-camera improv that contemplates the early autumn colors and forms of some weathered, wild blackberries growing along a rural Maine railroad track. The berries themselves are gone - into many mouths or fallen to earth. Winter, as yet unseen, approaches from afar. The superimpositions were done in the camera and there was no further editing of the film." —Abbott Meader