All Films

Live performance at the Shibuya La Mama club in Tokyo on 26 September 1991.

A man gets on the train. Things that he sees cause him to have erotic and cruel associations with the sensuality of women and the industrial slaughter of animals. This train to self-annihilation goes only one way, there is no return.

An unexpected love story, and the final episode of "Vitaal Filmen".

A surreal puppet animation about one day in the life of an old man. The story takes place in the house where the old man lives. When the old man gets out of the bath and goes down the spiral staircase, a young man in a bathrobe suddenly appears, ranting loudly about something. Surprised, the old man goes after him and finds the young man in the cellar struggling with another man. The man's head falls and rolls. From then on, a dizzying world of images unfolds in rapid succession, the space becomes cosmic, and various objects begin to float. As the artist himself says, "I created this work as a single image", and it is perhaps best to let the flow of images unfold in front of you, rather than trying to read some kind of narrative. The dolls are grotesquely detailed, the sets like works of art. The props and objects have a natural texture. It is a work of such a high standard that anyone who hears that it took three years to make will nod their head in agreement.

8mm film by Yukiyasu Shimada, autumn 1992. A prelude to "Kazuko; RONDO..."

White clouds drift across a blue sky. It takes place at Jounenji Temple in Kyoto, Japan. The son of the priest spends his day in a daze, doing nothing. The only one who comes to see him is an older man who likes to drink. The season passes quietly as the two drink together... Spring with its greenery, summer with its festival music, autumn with its moonlight, winter with its snow. The film is a visual poem that depicts the passage of time, incorporating seasonal scenes. The depth of the picture created by the precise framing, the fixed camera that captures the subtle changes in the wind and light, and the sound recording that even captures the rustling of the leaves, all combine to create a "drama" that can only be described as cinematic.

Every day is peaceful. There is an elderly couple who live together. The husband still works, albeit sparingly, and the wife does the housework. They eat together, know each other's tastes, and talk a little while watching TV. The film is a quiet account of their unhurried life together. The camera's gaze is quiet but gentle as it carefully follows the old couple, interspersed with summer scenes from the countryside, like a documentary. The camera's gaze is quiet but gentle, and the occasional embarrassing gestures and expressions on the couple's faces give the viewer a sense of closeness to the camera (and to the people holding it). The old man is a very picturesque subject even when he is just standing there, but this film has a peculiar rhythm to it, which may be staged or naturalistic.

The film is a naturalistic portrayal of the temperament of a single woman of today. The film is a real love story about the life of a single woman. The use of props such as a credit card and an answering machine in an unreasonable setting shines through in the scenario.

Short animation by Manfredo Manfredi

Documentary about mass actions on the streets of Kyiv between 1989 and 1991 just before the collapse of the Soviet Union.

The people of the Tana 'Ai region of Flores, Indonesia live in seven ceremonial domains, of which Wai Brama is the largest and the oldest. The people of Wai Brama are shifting cultivators, hunters and gatherers who, unlike their neighbors, have maintained their traditional ceremonial and social system. A Celebration of Origins, filmed in 1980, depicts the first celebration of these rituals since 1960. The rituals, which require the participation of the entire community, had been delayed by poor harvests and epidemics. The film focuses on a small group of ritual leaders who struggle to hold the celebration in the absence of the Source of the Domain, the ritual leader of the community, who died after initiating the rituals. Evoking the contested nature of ritual, the film demonstrates how ritual performance implicates delicate political relationships based on pragmatic alliances, festering antipathies or developing jealousies.

Ostensibly embarking upon a portrait of a "modern-day Abraham Lincoln", Escaping History traces the development of a relationship between the videomaker and his subject. As the story unfolds, it veers from the objective to the highly personal. The tape relates the story of Mel Glasser, a recovering schizophrenic who, having adopted the persona of Abraham Lincoln, has made considerable progress in the last twenty years. The tape refuses to romanticize Mel's condition; he speaks frankly with intelligence and humour, and takes Applegath on a special journey.

Produced at the same time as Mito Torture: Oedo Dragging. This is a drama, a violent drama depicting a love triangle over a cute woman at a convenience store. At the time, small, high-performance video cameras called Handycams were beginning to appear on the market, and I came up with a drama that used this voyeuristic, criminal perspective. The convenience store was borrowed from the real thing. We aimed for realism.

This tape deals with a personal, intense view of self - race and representation. A sense of personally touching the sexual self, of representing one's sexuality. It is a reaction to the exploitation of Black Women's sexuality in history and contemporary media imaging. This is a metaphor for rage.

Taiga Nomads is a film series about the Evenki (previously the Tungus), a nomadic people scattered all over eastern Siberia, and living under harsh conditions in the taiga, an area predominated by coniferous and larch forests and swamp lands. This series gives a picture of everyday life, during the four seasons the film crew lived with the main characters, consisting of three generations of members of the Archemku family. The first part, 'Hundreds of Homes', relates the story of Sasha Archemku and his family. He is the leader of Sovchos Brigade No. 6 which actually consists of his closest family members and some temporary helpers. They move throughout the taiga with their herd of reindeer in the traditional Evenki way. Each year the family sets up "home" in more than ten different campsites.

Journey of a girl in Jamaica

An alien crash-lands on Earth. While he is anxious to make friends with Earth people, the low-life assortment of degenerates he runs into abuse and take advantage of him.

Nikiema is a farmer from Burkina who sees fate come down upon him. His fouryearold son dies from a simple case of measles. He sells off his cotton crop at a good price, but he still faces a lot of debts. His fifteenyear old son, who had been helping him with the farm work, flunks out of school and moves to Ouagadaougou, where he finds a job guarding people's bicycles. Nikiema tries to commit suicide because he cannot fulfill his promises to his creditors any more. He is saved at the last moment by the arrival of one of his many sons living in the Ivory Coast.

Documentary about the abstract filmmaker.

A path doesn't always go straight - everything has to go around corners....

This video is about the idea of narcissistic transference, sexual dependency, and the failure to distinguish between the self and the loved one. It is also about using love to create a border between oneself and political and psychological oppression.

"There is one trick in the description of reality: the displayed reality imposes its form, its style of narration. There is no room for fantasies, and this task is difficult to solve. The world of sensations requires transcription and translation. Sometimes you feel one thing, but describe another. Frankness is ruthless, and truthfulness is often ugly. You have to model from fragments of reality and dreams. A world of words, a world where the main thing is not to explain and justify, is the main thing to create" (Dmitry Trofimov).

The delirium of a neurotic advertising executive dissatisfied with life turns into a hallucinatory nightmare.

Kobarweng reconstructs the first encounter between a remote village set in the highlands of the island of New Guinea and the outside world. Mainly told through a native narrative, it reclaims the memory of a colonial past. Switching the roles of observer and observed, it is anthropology-and specifically the desire underlying anthropological representation, that is depicted as an object of curiosity destabilized by the villager's questions. Point of departure was Kaiang Tapior's question "Where is your helicopter?", a remark which puzzled the filmmaker during his visit to the village of Pepera.