All Films

8mm film by Swiss artist Roman Signer.

8mm film by Swiss artist Roman Signer.

8mm film by Swiss artist Roman Signer.

Commentary on Japanese internment during World War II.

Once upon a time, there was an old man who knew a lot about herbs and magic spells. Many people came to him at night for their happiness, and he helped them all (well, almost all) to find love. What was the secret of his magic potion and why did the old man still remain lonely?

8mm film by Swiss artist Roman Signer.

Short by Copper Giloth

Two neighbours argue about which one of them should get rid of a pile of rubbish.

On the stage of a deserted movie theater, a man in a black robe appears and performs a series of yo-yo tricks. In this surreal work of celluloid animation, Yo Yo the Clone, Too shows the yo-yo coming to life and spawning a number of organic forms — including a clone of the yo-yoist himself. Set to sounds reminiscent of 1970s video games, the film is a hypnagogic unfolding of shapes and sounds with a touch of Somersaulter-Moats and Somersaulter's signature Kafkaesque uncanniness.

Inspired by the short story Aurélia (1854) by Gérard de Nerval, which will influence André Breton and the Surrealists, the film tells, with a contracted rhythm and visual accelerations / dilations, the daily experience of a woman projecting her into an interior dimension where reality and myth are mixed and fused by a dreamlike syntax. In the "descent into hell" of consciousness, Aurélia ends up by detaching herself from her identity as a woman of today to take on the multiple features prefigured, from time to time, by her imagination. Aurélia's frenetic final dance serves as a ceremony to exorcise evil, the furious rediscovery of the “double” savage buried within each of us, the abrupt awakening of the possessed bacchant, liberated vitalism, myth, explosion of fantastic energies. Aurélia faces a discourse on filmic time: real time is decomposed analyzed accelerated in lightning-fast mental paths from a stream of consciousness.

Footage of video game machines and rides from a Disney park in 1980.

Pat Hearn and Shelley Lake use a strobelight and faceplate to create this piece of video art.

A boy is attacked by the socks that he owns but never wears.

A short film by Myron Ort.

An updated version of the classic fairy tale - an anti-war warning.

Folk och Rackare play music; Ebbe Schön and Sif Ruud tell Christmas stories.

Color Student Film, Preserved by the UCLA Film and Television Archive. Pixel stop-motion animation of one man's war against an army of toilet paper rolls.

Documentary about a Sinti community in Duisburg, Germany.

This 23-minute, 16mm color film by Nancy V. Raine (Producer/Co-Director) and Richard Leacock (Co-Director/Cinematographer) is a poetic, lyrical, impressionistic collaboration by Raine, a poet and writer, Leacock, a leading figure in the direct cinema movement, and Maud Morgan, the film’s subject, a Boston-area visual artist who was 78 years old when the film premiered at the Boston Museum of Fine Arts on October 21, 1980.

" A synthesis film about the electrical means of command and control, which prove the modern orientation of the Romanian industry: neurons within integrated circuits drive industrial machinery, excavators, robots, turbines, entire assembly lines. "

In Hot Pink, director Patssi Valdez provided costumes and make-up to two young men and one young woman who perform in an unscripted scenario of play, aggressive gender roles, and seduction that upends the expectations of the artist’s social group.

A poetic study about flowers.