All Films

A queer girl’s fantasy of the best birthday party a mother could give. Being queer, the “sweet sixteen” character has only two girlfriends to invite to her party: one is the daughter of Jehovah’s Witnesses, the other a precocious slut. The party is depicted primarily in long shots in a 1960s home-movie style. The mother is a hippie (played by a drag queen) who believes in free love, communal living and crazy parties. She has her boyfriend serve cake to the girls and brings in a male dancer and a female sex worker to entertain them.

During the Gulf War, Serge Daney had written that the conversation, according to him "a typically Franco-Arab art", could no longer be established between him and his Arab friends. Saddened by this observation, we wanted to offer him a frame, both real and cinematographic, in which he could renew a dialogue that was interrupted at that moment. The choice of his interlocutor was immediately obvious: Elias Sanbar, Palestinian, historian, director of the magazine "Palestinian Studies", collector of images: an exile who archives the memory of his people: press photographs, album of family, postcards, etc. For Sanbar, the image is a proof of his identity. Daney spent most of his life watching movies, but has always refused to keep still images. On both sides, there was a very strong desire to confront these two attitudes in the face of the image and to make it, in a way, a parable of the North-South relations.

A homeless man in a street-worker’s jacket enthusiastically regulates traffic in De Pijp.

Claiming Territory refers to the landscape of the male body - claimed by the woman's hand - and the landscape of war - claimed by soldiers victorious in their actions. In contrasting the sensuality of the male body and its ephemeral presence with the escalating chaos of war, it was as if I was constructing a memory out of something I had no experience of.

The Australian goldfields period drama Rush (1974) was given The Late Show treatment with a slick re-editing and re-voicing which produced absurd plotlines, strange characters and 'Stupid Hat Day' on the goldfields. 'The Olden Days' originally appeared as 20 three-minute stand-alone short segments in _"Late Show, The" (1992)_, and were later strung together and released on video.

Cheyenne was a bustling hub for UP steam in the 1950s. It"s where the Big Boys were based during their last years of operation powering freights over Sherman Hill to Laramie. In Volume 2, you"ll go on a tour of the coal chute and servicing areas, take a spin on the turntable that served the 48-stall roundhouse, and visit the backshop where the Big Boys were rebuilt. You"ll hear the stories of the men who once worked on these famous locomotives and will learn about the operational layout and design of the Cheyenne yards as they were in the late 1950s. The footage used in this production was shot by UP cameramen over a 3 year period, with updated material added by Pentrex in 1993. It"s an unforgettable visit!

East Is Red is made in one shot. The lighter with young Chairman MAO’s photo imprinted on it, the blurred TV screen, the music ‘East Is Red’, all connote light or brightness. The lighter falls after several loops of the song. This video aims to convey sarcasm and skepticism, through a superficial touch on the subject matter.

Another approach to the same complex of story and videographic operations. This time the videographic work takes primacy and is almost wholly abstract. The story-telling strand is presented (enclosed) as a self-contained element within the overall image although even here the unity of sound and picture is abandoned – none of the sound recorded matches with the image of the speaker telling the story of Nohi Abassi. The story penetrates and interrupts, and is interrupted by, the processed imagery and sound in narrative sequence, but its imagery is also made an element within the videographic episodes. It is accompanied by rainforest recordings, as a simulacrum, a stylised assemblage referring to the idea of an alternative/magic, ideology of existence and order. Sharp collisions of content. Everything is permeable, every image becomes information and processing.

Have you ever been haunted by terrible nightmares about doctors? All the evil spirits led by Wiy the radiologist and all the worst from the field of medicine await you in the animation "Clinic".

Three gay and two lesbian teenagers tell director Joan Jubela some true stories of their own, regarding their coming-out and sexuality.

A new boy moves into Pekkle's town, and is trying his hardest to impress Lucy; however, Lucy isn't interested in him. Lucy makes Pekkle out to be a better swimmer than he really is, and the new boy challenges him to a swimming contest.

Short film depicting construction in Paris.

In "McLuhan", Kerr recontextualizes a "question and answer period" for design students delivered by media theorist Marshall McLuhan at Sherdian College in 1975. Operating from McLuhan's own aphorism "the medium is the message," Kerr combines footage of the address with two scrolling texts in the borders, in one showing an asynchronous transcript that weaves around McLuhan's dialogue, and in another, reinforcing McLuhan's talking points like a ticker on cable news. It has the effect of sharply reconceptualizing the semantic and rhetorical values of the lecture in particular, yet also provides a fascinating perspective on McLuhan's own ideas and intellectual form of address.

Wouldn't it be wonderful to talk to animals? The Kidsongs Kids learn to chat with a chimpanzee, giggle with a guinea pig and discuss in rhinoceros. Elephants and eagles, buffaloes and beagles and many more animals join the cast of this animal adventure. With some music, magic and imagination you too will be singing and laughing along with favorites like "Hound Dog," "The Farmer in the Dell," "See You Later, Alligator," and more!

A dejected husband exiles himself to the Moon with his cat. He sends back transmissions to Earth.

The film tells a story taken from an old saga: Audun is a poor Icelandic Viking who wants to pay his respects to King Sveinn of Denmark in a grand way. He thus sails to Greenland, where he spends all he's got to buy a polar bear to bring as a gift to the Danish monarch. We then follow Audun's adventures in Norway, Denmark, Rome and then again in his homeland, a much richer man than when he left.

‘Through the use of blur, Lis Rhodes in Just About Now (1993), reproduced on an Arts Council publicity postcard, abstracts the video image in a painterly fashion. Video as a palette of shape, form and colour is powerfully translated.’– Esther Johnson

I made this film with the help of friend Timmi Harrop she graced the screen in this liquid like atmospheric industrial performance piece. Multiple exposures, water, and weird underwater cinematography shots that create the environment drowning the viewer in a symphony of sight and sound.

On a rainy day a child folds a paper boat and puts it into a puddle. A heavy downpour leaves the small vessel sinking. Three Gutter Pirates take over the boat.

Rave energy, a hardcore soundtrack and fast cut rave footage means this video captures the adrenalin rush and excitement of the club scene.

This tape was included with certain copies of the ground breaking computer game, "The 7th Guest".

Acid journey round the M25.

Tholing Monastery (Tuolin si 托林寺) is the oldest monastery in the Ngari Prefecture of western Tibet. It is situated in Tholing (Zanda), Zanda County, near the Indian border of Ladakh — more than 1,800 km from Lhasa. It was built in 997 AD by Yeshe-Ö, the second King of the Guge Kingdom. In the Tibetan language, 'Tholing' means "hovering in the sky forever," and is reflected by the location of the monastery, which sits at an elevation of 12,400 feet. This documentary follows an old monk who spent his childhood at the Tholing Monastery, in the 1950s. In 1960, he fled to India, and in 1967 (during the Cultural Revolution), Tibetan residents from in and around Zanda County gathered at Tholing Monastery and demolished most of its buildings within a month. The monastery was allowed to resume Buddhist prayer activities in 1984; upon hearing this, the old monk left his life in India and returned to Tibet.

Dana Claxton uses low-grade video equipment to create degraded images that correlate the treatment of the earth with the treatment of women’s bodies. A figure stands enmeshed in cutting barbed wire among ravaged forests and chopped tree stumps. Grainy black-and-white images have been electronically ripped, cut and torn in post-production while repeated images of the artist’s open-mouth scream silently against a volatile red sky. A video work from the early 1990s continues to resonate in our contemporary moment—and with decades of missing and murdered Indigenous women across exploited lands.