.Yl 1982 - 284

Film starring Shantha, Sivakumar and Thengai Srinivasan

Film directed by S.A. Chandrashekhar

The filmmaker and visual artist Rea Tajiri combines classic cinematic moments with her own overlaid text, establishing a sly tension between the magicians of cinema, who craft powerful illusions, and the anonymous audience member, who imposes their own interpretations and machinations upon the work. Both are located out of sight, on either side of the screen, illustrating Tjiri’s assertion: “When I’m watching / you won’t see me.”

A number of large stone slabs and a CRT monitor among them, which itself shows an image of stones.

A short film by Allen Ross

An artistic collaboration between a poet, a dancer and a filmmaker that celebrates the seedier side of Minneapolis in the early 1980s.

An idyll, "for GAL": a pond, a desk, a farm, a kitchen—and storks, lots of them. Colored, which brings to mind "coloratura." An idyll? Isn't something missing?

Politicians and military leaders are preparing for Day X, the outbreak of war in our country, with simulation games and exercises.

A documentary that shows a paralyzed man who, despite massive physical limitations, is able to perform his work as a guardian of the village's flock of sheep.

A short documentary.

A short documentary film focused on the children of Yugoslav workers living abroad, particularly in France.

Scenes of people (superior views) entering and exiting simultaneously from 2 parallel elevators

Bruscky wanders around Amsterdam in search of phallic symbols.

Short documentary about the first football competition in Macedonia.

Shot in the subway of New York without permission in 1982. The members of the cast were the School of Hard Rocks.

Documentary footage of the Warsaw Ghetto is cycled several times, as hand-drawn animated lines gradually overwhelm the photo-based images. The sound track's recited narrative compounds itself to produce an eventual cacophony. These over-lays raise silent questions about how we preserve events in history and in our private pasts.