All Films

This fast-paced and entertaining animated film is about water and the demands placed on our waterways by agriculture, industry, and urban life. An army of droplets, led by The Chief, shows what happens to water from the time it falls as rain until it reaches its destination.

Peter Morin' show, deliberately narrative, fantastical and symbolic, was calling for a cinematic transposition in which objects, actions, gestures, without losing anything from their power, would be used differently, liberated from real time, linearity, theatrical space. The use of cinematic language (i.e. numerous framings, dark and light opposition, camera motion, superimpositions, different rhythms at the editing) permitted this transposition.

A Kafka-inspired tale, Mirrored Reason tells the story of a woman who is haunted and eventually replaced by her double.

Symphonie mixes fiction with reality. The author, Romain Schneid, tells the story of his own claustrophobia in front of the camera when, when he was 12 years old, hiding as a Jew during the German occupation, he could not leave a tiny apartment. He tells and he plays alone all the characters in his drama. He invents, deforms, imagines another end. He is at the same time the author, the narrator and the actor (the actors). Did he really experience what he's talking about, or did all that happen in his head? Are we facing a testimony or a delusion?

An exploration of life in the female body.

Fugitive images of old Paris neighborhoods.

Starting with a boat swaying on its anchor at the head of an inlet, a landscape of pilings, shore, and forest is slowly revealed by time-lapse photography as the morning fog lifts. While the deep space of the landscape evolves out of the fog-enshrouded flatness of early morning, the camera skips from fixed point to fixed point - suggesting the motion of the human eye while reading.

Tony Buba trains his documentary lens on the washing of his 87-year-old grandmother’s kitchen walls, an annual ritual. While the filmmaker works diligently and mostly out of sight of the camera, his grandmother anchors the piece, recounting stories of her immigration from Italy in the 1940s, her first impressions of the United States, and her endearing love of Braddock.

A documentary involving the work done by Arthur and Corinne Cantrill since 1975 in 3-colour separation. Also discussed are the classic theories and principles in 3-colour separation in film and photography.

“A subjective assault, a kind of found cinema, in which the pieces of existence, the pablum pop of Top 40 radio, mix effortlessly with thermonuclear techno-jargon, and stoned-out kids camping around in the buff co-exist in a restless uneasy mix with Times Square strip shows, neon effluvia, lugubrious country-western ballads and Bromberg’s own visceral polemics.” –Brian Lambert, TWIN CITIES READER

Documentary

German League of Girls in the Hitler Youth movement. By age 10, all German girls were required to join the BDM. The BDM was the female organization under the Hitler Youth. At age 17 the girls could join the Belief and Beauty movement within the BDM. The primary focus of both movements was special training to become good wives mothers and homemakers. They learned cooking, sewing, child care . They learned all about Germany's leader Adolf Hitler and Nazism. My mother grew up in Nazi Germany and her stories about the BDM were very interesting. The children were not involved in the atrocities that occurred.

Organised by Terri Hooley's Good Vibration Records, this legendary gig found almost 1800 people cramming into The Ulster Hall to see local band The Outcasts. The events depicted here were later immortalised in the 2013 film Good Vibrations. The final part of documentary filmmaker John T. Davis 'punk trilogy' – preceded by Shellshock Rock (1979) and Protex Hurrah (1980). These films sought to portray the leading figures of Ulster’s underground punk scene of the late-1970s and early 1980s.

Joann Elam captures urban residents on the go in various seasons. The film begins in winter, as JoAnn captures sleepy neighborhood scenes from her snowy Logan Square windowsill. This is followed by manipulated summer scenes of a fast paced marathon. Through light flares and in-camera editing, marathon runners deconstruct into colorful forms.

Bern, 1980: A caleidoscopic portrait of Swiss urban life in the early 1980s.

A young man watches the bikinis and boogie boarders around him but just can't relate.

The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.

Film by Ana Mendieta, 1980

“Breaking in. Patrice Kirchhofer’s Anorexie 4 continues on the path of the narrated narrative (a short story by Chandler) and Décembre 79 on the path of photography. At the end of these two journeys, the film becomes the subject and the trace of the same act of breaking in. In Anorexie 4 the voice shapes the images (the play of chess and of light) and in Décembre 79, shot in the same abandoned mining region, the photos shape the film: chemical deposits, fossils instantaneously striped and imprinted by signs of life and haunted by their ghostly presence. A space of dreary grey, of desolation, which is in a never-ending process of dying because the place, even before being filmed, already went through a vampire-like depletion. In accepting the invitation of these tracking shots of abandoned factories, the spectator is summoned to riverbanks similar to those of Dreyer’s Vampyr and Murnau’s Nosferatu.” Charles TESSON. Festival de Digne. Cahiers du Cinéma n° 314 – Juillet–Août 1980.

Flowers in compression and expansion, blurry and clear, ballet of flowers around which we turn, flowers in final bouquet. A choreography of these fascinating messengers of love.

An experiment transposing a painting by the artist Jacqueline Bosson into film. A particularly delicate exercise which consists of preserving the quality of both the colors and the range of blacks and whites, of directing the gaze to a single part of an ensemble predefined by one of the many factors involved in “making visible”, without turning away from the the fact that one’s attention is liberated from the noises and distractions of the gallery, of the museum, of the world… — different and similar from those the screening room — an inevitability of light.

8mm film by Ohtani Jun

This is a short film by Mirza Idrizović.