All Films

A video of a live performance by the fabulous Dyketones. Great fun, humor, music, and costumes. Lesbian versions of some of the classic pop hits of the past. Poodle skirts and horn-rimmed glasses. Wishful fantasies about favorite female vocalists. Outrageous entertainment.

The starting point of the work is the idea of ​​making the structure of the image audible via the simultaneously exposed light tone, of generating sound and moving images using photographic processes, but without a film camera. The dramaturgical stipulations for this resulted from the photo images, taken evenly as a series of 5 from different perspectives, which resulted from different distances to the photographed object, edited and expanded with a copying technique that I have been continuously using numerous photographs since I was 16 and material collages. This collage of moving images and the experience and knowledge that I was able to derive from it became the cornerstone for my creative ideas.

"Phantoms was a transitional film for Swann in that it marked a watershed between her previous work in tape slide with its basis in the manipulation of secondary or found images to work using footage shot by the film-maker and with a more discernible narrative structure. Phantoms' often exquisite, atmospheric images of nature, architecture and interiors hark back to the opulence of the earlier work, yet are harnessed into a narrative of yearning and unrequited love through intertitles and the appearances of the male and female (Swann herself) protagonists. The film is an essay in desire using images rather than words. It's like a prose poem, with the intertitles giving it syntax. Swann acknowledges the influence of silent film at the time and especially that of Russian lyricism in literature and film, with its conflation of the landscape with the personal." Sotiris Kyriacou

Includes performances of Over The Rainbow, Uncle Arthur's Lonely World, Ulakanakulot: Decline And Fall, Pagan Lovesong, New Form Of Beauty, Walls Of Jericho, Caucasion Walk, Bernie & Attracta Sing, Rhetoric, The Pig Children, Come To Daddy

John Bunion (J. B.) Murray (1908-1988) was a farmer who lived in rural Glascock County, Georgia, near the community of Mitchel. When he was approximately seventy years of age, believing he had experienced a vision from God, he began writing a non discursive script on adding machine tape, wall board, and stationery. He described it as "the language of the Holy Spirit, direct from God" and interpreted it using a bottle of water as a focusing device. In the last ten years of his life he made over a thousand paintings, introducing the script into fields of color and adding figures that represent "the evil people; the ones that are dry tongued, the one's that don't know God". Murray's works are exhibited throughout the world.

"The lateral movement of the title "Along the Road to Altamira" signals that we are about to embark on a journey through Spain. Our final destination is Altamira, where the first forms of representation by Paleolithic man still remain. These images, a narrator tells us in German, would have remained undiscovered if not for the childish curiosity and unconditioned vision of the young girl who noticed the ancient paintings of bison on the cave ceiling.

Mexican feature film

Mexican feature film

Mexican feature film

In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.

Spiritual leader is in charge of facing and taming machine through enigmas and magic words. He loses control over her and is destroyed. But the entry of a curious child on the scene brings an unexpected outcome.

Computer graphics, computer imaging, computer animation, digital image synthesis, digital scene simulation. These terms refer to one of the most profound developments in the history of human communication: the computer as a visual instrument that combines the objectivity of the photograph, the subjectivity of the painting and the gravity-free motion of hand-drawn animation. It is possible to view the entire career not only of the visual arts but of symbolic discourse in general as leading to this Promethean instrument of representation. Its aesthetic and philosophical implications are staggering, and they are ultimately of profound social and political consequence as well.

Matthee reworks a sequence from Douglas Sirk’s Written on the Wind (1956) in which a woman dances to the rhythm of jazz and provokes the death of the father.

About how time is reflected in old newsreel footage and in the voice of its narrator, Boris Podnieks.

The authors of the film have set the goal of explaining to the viewer that self-medication for sexually transmitted diseases is harmful. It is necessary to overcome false shame, not to listen to the advice of acquaintances-friends, but to turn to a specialist in a timely manner and act on their advice.

In short sequences of images pointedly set to music by Louis Armstrong, the film follows the pleasurable triumph of young life over the obstacles of setting out into the world. As short as the film is and as curious its contents, the chequered story of its working and release titles is just as interesting. In 1987, the industry magazine “Film und Fernsehen” presented it simply as “A DEFA film by”. The text printed there ends with a sentence in brackets: (And many a viewer may marvel at the courage of the little ducklings and feel encouraged themselves.)

Film by Ignacio Pardo

Short 8mm film by Hiroyuki Hakamata

"My TV Dictionary: The Drill" is one of several video works Breder created by re-editing recorded footage from cable television movies. This video conveys the violent and sexist subtext of the 24/7 stream of cable television "and thus becomes a potent metaphor for our times" - Jon Hanhardt, 1987

In TV Dictonary, Breder gives his vision or memory of what he has seen. The television images, often recognizable from modern film classics, have been cut loose by him from the actual sequence of the original story and placed in a new, personal sequence. As a result, the storyline does not dominate (which in narrative films often gives the images their meaning/function), but the images stand more on their own as if they are treated as lemmas one by one. Details and film symbolism of the sampled images have been brought to the fore by stretching the time and reversing the sequences of the images. Despite the fact that each chapter 'written' by Breder has a clear beginning and end, a meaning is generated that stands on its own and lies outside a story or anecdote. The tension is heightened by repetitions, the complex structures in which the original is incorporated and the compelling soundtrack composed of film scores.

Women in love features black women talking about their public and private lives. Their discussion of families, lovers, and the way they move through society is as entertaining as it is informative.

When inhabitants of an apartment complex don’t stop littering and polluting their surroundings, a huge garbage monster appears and starts punishing the people.