All Films

THEY INVENTED MACHINES is about colonialism, entertainment and love. The images are taken mostly on Disney World rides where one is shown facsimiles of people from far away lands. The soundtrack, a little more than half-way through, ceases its cricketing and, against impressionistic waterfalls, mentions love ("they have love here") which must then be thought of in the context of this same wonder, possession and amusement. The film ends with a series of flights.

For those who find listing and repetition romantic. A near perfect structure. Three acts, an auditory red herring and classic love story.

A filmic Pandora's Box full of my version of "trouble" (death, loss, cultural imperialism) as well as the trouble with representation as incomplete understanding. - Mark LaPore. Preserved by the Academy Film Archive in 2012.

HUB CITY is a short about Lubbock, Texas, the home of Buddy Holly. It is also about trajectories of death and small towns in general.

Bells really turns it on for this new and unique surfing content, modelled on the Golf Skins Competitions, gathering together the very best surfers from around the world to match themselves against the biggest and bet waves that Bells can throw at them. This limited edition video captures the incredible tactics and skill that it takes to be among the world's greatest surfers. $5000 per wave... Big money... Best man wins... Take no prisoners!... This is as good as it gets!

In spring 1997, after several delays, The Video Dream Mixes was released. It features music material from The Dream Mixes, combined with films of US landscapes and alienated sights of Venice, pictures and computer animated graphics and virtual views from outer space. The film material was mixed up with clips showing the band on stage or during journeys. Most of the material was filmed by Edgar Froese.

1997 saw the release of Oasis, the follow-up of Canyon Dreams, TD's first commercial video featuring the scenery of the Grand Canyon that had been released ten years ago. Also Oasis shows great views of the landscapes of the US south-west, most of them in time-lapse photography, combined with TD's music which sounds mostly rhythmic and sequencer-driven. As Canyon Dreams, this video was a result of a cooperation between TD and the US Camera One company. The pictures of an overwhelming nature were taken by Gray Warriner, who had already been director of Canyon Dreams, and by Ned Sickels in the most famous National Parks in the deserts of Arizona, New Mexico and Utah, among them Zion National Park, Canyon de Chelly, Grand Canyon, Bryce Canyon, Canyonlands, Petrified Forest, Cliff Dwellings and Cedar Breaks. The band's name is printed not onto the cover but only on a shiny silver star-shaped sticker on the cardboard sleeve - but this all does not affect the result of this great work.

The Amazon is the last place on Earth where people who have never been contacted by the modern world live. In Ecuador, an uncontacted tribe called the Tageari are next in the firing line and when contact occurs, their health, their faith, their environment, their love - all the things that define their culture - are changed forever. AMAZON - THE INVISIBLE PEOPLE traces the work of an Australian, Doug Ferguson, who went to Ecuador in 1986 to work with Indigenous people. He married a shaman's daughter, fathered two children and built a rainforest home. Doug has helped three tribes secure and demark their ancestoral land, saved more than a million hectares of pristine rainforest in reserves and National Parks, and established sustainable agricultural projects in a nation devastated by slash and burn agriculture. This is the story of Doug Ferguson's work.

A video production made by the Yucatec PRI politician Jorge Esma Bazán on the Hanal Pixán: Day of the Dead in Yucatán.

A cinematic investigation about death and the power of photography, El Día Que Me Quieras is a meditation on the last photo taken of Ernesto Che Guevara, when he was lying dead on a cement pile surrounded by those who captured him in Bolivia, in 1967

In Vexation Island, which Graham premiered at the Canadian Pavilion of the 1997 Venice Biennale, the artist appears in full shipwrecked sailor mode, lying unconscious under a tree on a paradise island, with a bruise on his head. Played on a neverending loop, the protagonist wakes up every ten minutes to his cosmic joke, shaking the coconut tree and knocking himself out once again.

Arising from the earth, a body discovers its nakedness. A suit of armour becomes a metaphor for the trappings of identity. Pixilated to produce the effect of a human marionette, accompanied by a good-natured verse.

This documentary tells the fascinating story of one of China's newly rich entrepreneurs, Yang Daquan, of Pengzhou City in Sichuan. Mr. Yang came from a rich gentry family and was given away as an infant when his family disintegrated at the beginning of the socialist era. He grew up in the countryside as a poor peasant and came to the city in the late 70's as a construction worker. After years of struggle he now owns a construction material plant and an ice cream factory, and is a major investor in the local real estate market. The film searches for the drives behind his determination for economic success and links his personal story to the turbulent history of China in the past several decades.

Echo with Women's Voices Their Involvement in Political Movements examines the women's movement and women's political participation in Taiwan over the past thirty years.

A young black man in an oppressive urban environment finds a new outlook by embracing his African roots.

In “Ya basta!” the native Tzotzil tribe takes up arms to demand land, work, housing, education, health, independence, freedom and democracy from the Mexican government. “40 Molons” is a video-installation inspired by the folkloric 40 Molons Orchestra of Namur.

"Eighteen years of dinners are condensed in this affectionate family portrait which grew out of a family tradition of taking slides of holiday dinner posing." - James Otis

Aesthetic attempt in which intertwining forms, colours and dimensions are moving in such a rhythm that all landmarks are lost : are we in the world or is the world inside us? This film is a fleeting self-portrait, a projection of identity, of the human being and of his body in unexplored worlds such as space or the seabed.

Ever Is Over All envelops viewers in two slow-motion projections on adjacent walls. In one a roving camera focuses on red flowers in a field of lush vegetation. The spellbinding lull this imagery creates harmonizes with the projection to its left, which features a woman in sparkling ruby slippers promenading down a car-lined street. The fluidity of both scenes is disrupted when the woman violently smashes a row of car windshields with the long-stemmed flower she carries. As the vandal gains momentum with each gleeful strike of her wand, an approaching police officer smiles in approval, introducing comic tension into this whimsical and anarchistic scene. –MoMA

The story of a baby named Srebrenica.

representing the new era of snow skiing: Raw, Powerful, Aggressive, bordering on reckless abandon. Controlled only by a State of Mind.

Body in the past, the present and the future.