.Yl 1982 - 293

The poet Ha Bin meets with Nam Mi Ri on a rainy day which brings them misfortune. The next day, Ha Bin goes to see Mi Ri but meets her fiancee, Son Du Ho, instead. Du Ho is the executive in charge of overseas business at the company of Mi Ri's father. He is also the boss of a drug smuggling ring. Mi Ri's stepmother, Kang Hye In, is the director of domestic sales at Dong Hae Trade. She combines forces with Kwon Ki Pyo, Du Ho's rival, to try and take control. Mi Ri tries to find an escape route through Ha Bin.

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

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.

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?

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

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."

A sequel to HEALING PROCESS: "Four years after my father died, I found the sympathy cards, the certificates for trees in Israel, and the letters of condolence that I stashed away in haste when my mother demanded, 'Get rid of these.' Due to my morbid curiosity, I opened the envelopes." – (from the beginning of the soundtrack)

"That's the most formal piece I ever did. It's very reductionist because I was interested in dealing with the computer and the digital imaging process on its own terms. The only analog image is a voltage-controlled moving square created with the Rutt/Etra synthesizer. I used that image pattern through which to key and genlock other computer-created textures and square shapes. I was using a program called "Clear Center" where the pixel is routed from the center of the raster all the way around the rectangles in either direction at very high speed. By controlling the luminance and width of the pixel you get different kinds of textures within the square. Here, the square is articulated as an evolving architecture in time-from classical space (Greece) to outer space (Jupiter) using light energy as the building material." - B.B.

Guillermo, a rock music critic, decides to write a book in which he sets out to tell the truth about John Lennon's death.