All Films

Kelvin Kyung Kun Park’s Invitation to a Peaceful City, poetically mediates on the various forms of cultural resistance and simple quotidian ways of making do, that a variety of displaced Korean villagers have made after being first displaced by the Japanese and then the US Air Force. Park’s work sensitively speaks about the conflict that has arisen between the locals who are now tied into the economy of the base and others who still live under its shadow.

Explores the decay of memory and the filmstrip using super 8mm footage taken by the filmmake'’s father.

A nephew's journey

More random shock footage

While ex-Mormon-lesbian-atheist Sue-Ann Post has carved out a name for herself as a stand-up comic in Australia, she has been estranged from her family ever since she decided to abandon her Mormon upbringing. When she publicly demanded to be excommunicated from the Mormon church on a national TV talk show, she got what she asked for—leaving her completely ostracized from her Mormon community. This highly engaging doc follows Post as she journeys to Salt Lake City where she has been invited to speak at the Affirmation Conference—an annual gathering of gay and lesbian Mormons and ex-Mormons who are trying to reconcile their faith with their homosexuality. As cynical as she has become about her former religion, Post finds herself struggling with conflicting emotions that she had buried for years, while realizing that she has finally found her own lost tribe.

Rooftop Song is a part of 3 videos made at the Lenox Hotel in Buffalo, N.Y.

8mm film by Koga Tomoko. She is an underground experimental japanese fimmaker.

Running in a snow landscape. Images come and go as memory does

Outlines of people turn as the people themselves walk into a light space. Everything is connected to each other. Material is transformed as spaces slide into other spaces and people become dust

People arriving and departing from the airport seen through a revolving door. Modern live as it moves on in time and space

Pieces of glass float almost weightlessly in a void. Due to high fragility they fall apart when they clash. Fragility stands for beauty which is short lasting

Animated short film presented at the Annecy International Animation Film Festival in 2005 by students from GOBELINS, the school of image.

After her family is separated after being caught in the crossfire, Meriam sets out to search for those she lost. She learns to face the uncertainty and grim reality that the conflict between Moro rebels and government forces has brought upon her community.

Katy Martin paints directly on her skin, and uses her whole body to make marks with the paint. Bill Brand frames the action and its trace, in the process, linking painting and cinema. Swan's Island explores gesture in painting, and how it relates to the hand held camera. The film creates abstractions from the glistening blue paint that in turn evoke a seascape or a distant, yet intimate place. In its choreography, Swan's Island is a duet. The painted figure occupies space, and the camera describes that space. The person filming and the person filmed are moving as one, and yet they are separate, each an island. Seeing and being seen are inextricably bound with emotions of love and loss, longing and a sense of place.

Trinh T. Minh-ha | USA 2005

Tammy Wynette is joined in this fabulous performance with eight of her lovely singing sisters, with twenty one tracks of pure country pleasure. Tammy's line-up of country sisters includes Gail Davies with a number of her top hits and Lyn Paul with number one hit 'Stand By Your Man.' Tammy also plays some of her number one hits such as "Till I Can Make It On My Own' and 'Womanhood' in this unforgettable hour long show.

The film illustrates the changes the Lepcha of the Dzongu reserve, North Sikkim, have been through in the last 60 years. From the 1940s, the Lepcha of Tingvong village gradually abandoned hunting, gathering and the slash and burn cultivation of dry rice, and became settled agriculturalists. Entire mountains sides were converted to cardamom and terraced for the cultivation of irrigated paddy. The irrigated rice and the cardamom cash crop not only brought the Lepcha within Sikkim’s market economy but helped create a surplus which could among other things be invested in religion. In the 1940s, the Lepcha of Tingvong embraced Buddhism and all its complex rituals without however abandoning their strong shamanic traditions. Today, both forms of rituals amiably co-exist in the village. This film is part of a long-term visual anthropology training project for the tribal communities of Sikkim.

This film examines the Egyptian rural craft of making a sieve called ghurbal (from the Arabic ghurbal meaning “to winnow” which is used to both “winnow” babies on their seventh day of life and to winnow grains for making ceremonial dishes, particularly kouskousi. Embedded in this material culture artifact are layered meanings of creative regeneration of the cosmic and human worlds. We visually follow the material process from tree log cutting to making the tara (ghurbal frame), to ghurbal crafting, through the voice and image of two key persons: Na’ima, the craftswoman and owner of the frame shop, and Hoksha, the rural ghurbal craftsman. The ethnographer/filmmaker engages them to speak and we are drawn into their lives by their stories as we view self-confident mastery of their craft. While Hoksha relates how he has kept this child from his father, we see his son next to him making a modern flour sieve, having never learned the family tradition.

Politics of Rehearsal (2005) Focuses on the theme of rehearsal, which is so characteristic of Belgian-born, Mexico City-based Francis Alÿs' work. From the start, he has adopted a way of working that tends to reject conclusions in favor of repetition and recalibration.

Enrique Favez was a surgeon in Cuba from 1819 to 1823. He was the husband of Juana Favez. He was also a woman.

A short film about the fears and dreams of a lonely man.

A deer and wolf are filmed in a white cube gallery. 16mm, looping installation.

A couple of vultures find a baby vulture and raise it as if it were a chick. Like all baby vultures, it learns to fly, but as it grows, it becomes heavier and cannot fly for long. So, an identity crisis arises: "Why don't I have feathers? And what about this beak inside my mouth? Why doesn't the wind carry me anymore?"