All Films

A documentary about farmers battling the elements in a remote valley in Kyrgyzstan.

Mexican feature film

Mexican feature film

Inspired by a mime show ("Panem en circenses"), the film is a series of comical situations based on the absurd. Burlesque situations experienced by two tramps in a vague location. They don't know each other but have both chosen to spend the night there. The film tells of them approaching each other, at times being charming, at others jeering and being aggressive.

Landscape and Room opens with a rudimentary line drawing of a landscape on a white screen. A performer enters in the foreground and begins making a line drawing of a room over the landscape drawing that is already there. The performer leaves the screen in the foreground and after a few seconds he re-enters. He then proceeds to use scissors to cut away the drawing of the landscape. The drawing of the room is left on the screen. The performer then gradually appears from behind a large piece of paper as he cuts it away. A drawing of a rectangular solid also appears as the paper is cut away. The performer leaves. After cutting away some lines from the rectangular solid the performer cuts away the drawing of the room. He then reappears from behind as he cuts away another layer of paper that covers the scene. As he cuts the paper away another drawing of a rudimentary landscape appears. The solid is now in the landscape. The film ends with the performer filling in the solid with red chalk.

Explains the difference between fantasy action and the real life action shown on news and sports programs. Shows how TV violence is staged and explains why it is dangerous for children to imitate such acts.

Presents Marlo Thomas leading preadolescent and adolescent girls in an informal discussion about their changing bodies and emotions.

Homage to the basque sculptor Eduardo Chillida.

As she has sex with her husband, she starts to fantasize about cheating on him.

The situation of the Basque language in Navarra.

Life is like a gigantic phonograph record fifty feet across. Or like one of those whirling discs at the old amusement park. You get on the disc and it's spinning and the faster it goes, the more centrifugal force builds up to throw you off it. The speed on the outer edge of the disc is so great you have to hold on for dear life just to stay on. The closer you get to the center of the disc, the slower the speed is and the easier it is to stand up. In fact, at the very center there is a point that is completely motionless. In life, most people don't get on the disc at all. They shouldn't get on. They don't have the nerve. They just sit in the stands and watch. Some people like to get on the outer edge and hang on and ride like hell. Others are standing up and falling down, staggering, lurching toward the center. And a few, a very few, reach the middle, that perfect motionless point, and stand up in the dead center of the rearing whirligig as if nothing could be clearer. (CB)

A highly experimental film which uses a kaleidoscope array of techniques to question the representation of space in film. The film can be read as an existential journey through interior spaces or as a phenomenological inquiry into the relationship between what is seen and the act of seeing.

Free adaptation of Faulkner's novel aroused by the Patrick Henry and Ranucci cases.

Based on a poem from the Icelandic sagas, this film tells of how Thrymur, the king of trolls, stole the hammer of Thor and how Thor got it back.

Short film by Anita Thacher

Short film.

This interview with a Mexican squatter in Oaxaca, Mexico is an example of the genre that Breder conceptualized as “aesthetic ethnography.” This term refers to processes and form which attempt to illuminate people and cultures in specific historical moments and places through an aesthetic rather than a scientific methodology.

A document that summarizes images of the energetic Mexican muralist's most significant works, using rhythmic montages that reflect the prevailing mood of each of his pictorial periods and a complex soundtrack composed of effects and various orchestral and choral interventions. Devoid of narration and didactic rigidity, this short film focuses its resources on the pure enjoyment of Orozco's work.

8mm film by Swiss artist Roman Signer.

At the end of the 1970s, the artist’s work witnesses a change and enters the spheres of mysticism, mythology and cosmology. Yet, the body continues to function as her primary medium and the performances were seldom performed directly for the camera, although the awareness and necessity of film documentation was obvious for the artist. The first of a cycle of those seances, titled Dreaming, was conducted in 1978. The actions adopted different forms – Natalia LL was asleep in the presence of the viewers or only with the camera as a witness; she was also experimenting with sleeping in the pyramid. Those seances stemmed from the pursuit of reaching the subconscious – the artist very often noted down her dreams immediately after waking up.

The artist's creative moments and everyday life. Another serigraph - "Võrumaa IX" will be completed within one month.

8mm film by Swiss artist Roman Signer.