All Films

A group of geologists was landed in the taiga. But the guys can’t work - they gave them the wrong bits for the equipment by mistake. And the radio doesn’t work, and the helicopter is expected only in two months. And the squad leader, a young guy named Dmitry Alekseevich Ryabtsev, makes a decision - he alone goes to the nearest detachment. By taiga standards, this is not far - 20 kilometers. But when he returns, he discovers that his squad has left the camp.

In this animated short the artist tells the story of an Inuit hunter who clubs a seal pup on the ice and then later dies himself. The film's ethereal images are created and transformed in sand.

16mm experimental short film starring Toney Merritt.

A behind-the-scenes look at the filming of one episode of Nukitsamees (Rahalaul).

The story of a witch who is victim to her own trickery.

Based on a dream, superposition of ruined castles, scree and poetic fragments in the Alsatian winter.

Short film by Hollis Frampton

Primitive human Zan learns of his past and future lives when he discovers a spaceship.

Aimed at teenagers, this explores common adolescent struggles and conflicts with family and peers. The title reflects the common experience of feeling targeted or singled out, a theme that resonates with many viewers, especially those who watched it as teenagers when it was relevant.

"Der explodierende Turnschuh" is a short film in which a shoe explodes

The last day of hot metal typesetting at The New York Times. This film shows the entire newspaper production process from hot-metal typesetting to creating stereo moulds to high-speed press operation.

Odd underground and street perspectives in Berlin and in the BRD. From a handful of passionate filmmakers.

House is the story of a house in West-Jerusalem: abandoned during the 1948 war by its owner, a Palestinian doctor; requisitioned by the Israeli government as "vacant'; rented to Jewish Algerian immigrants in 1956; purchased by a university professor who undertakes its transformation into a patrician villa... The building site is like a theatre in which the former inhabitants, the neighbours, the workers, the builder and the new owner all appear. Israeli television censured the film. "Gitai wants this house to be both a symbol and something very concrete; he wants it to become a character in a film. He achieves one of the most beautiful things a camera can register 'live', as it were; people who look at the same thing but see different things - and who are moved by that vision. In this crumbling shell of a house, real hallucinations begin to take shape. The film's central idea is simple and the film has simply the force of that idea, no more, no less."

What can one say? – that won’t limit by language the complexity of moving visual thinking?… the skein of pattern that seeks to make its own language. – S.B.

Young holiday-makers prevent export of priceless gold mythological figure hidden in disused Cornish tin-mine.

There is a wild sound in the streets where once bells called men to prayer and choruses chanted in march time to the decibels of an infernal brimstone cacophony from which the damned in a Boschean hell sought refuge in the solitude of the philosopher's egg, the transparent bubble of the alchemical Hermetic vessel. MAN IN A BUBBLE is a short documentary about personal acoustical space in an age of intolerable noise. Some stuff their ears against the electronic smog. Others wear headphones. A few scream and very few begin to discern in the deafening uproar the emergence of a Tondichtung worthy of the urban primitivism which gives birth to it. The film was shot in Chicago and New York.

A 16mm film of the changing reflections of a bridge over the lake in the grounds of South Hill Park, Berkshire, which links a public thoroughfare. The film can be thought of as a metaphor for the representational process and the cinematic ‘apparatus’ itself, with the ‘bridging process’ connecting the ‘real’ bridge with its representation as a reflected image on water surface, the reflected image on water to camera and film emulsion, the projected film image to the screen and the screen to the film viewer in the cinema. To push this still a stage further, it acts as a metaphoric link between theory and practice (a stills sequence from Bridge appeared on the first page of the first edition of Undercut Magazine).

Realistic images of New York alternate with surrealistic indoor shots and posing fashion models, with references to aphroditism and transvestism.

A boy's exciting journey to school

Panoramic views of the high snow ranges provide the backdrop for the austere and rugged village life of Tibetans and Ladakhis, high in the the western Himalayas. "Echoes from Tibet" examines their shared social habits, Buddhist religion and customs. Tibetan script Harvesting and threshing; work songs; the vigorous yak dance - all these are explored in the first half of this film.

Record of the importance of Confeitaria Colombo in cultural life from the beginning of the century, in Rio de Janeiro, to the present day.

Probably, half of his native village was married off by Grandfather Stepan, because he was always eager to do good for others. Even a serious illness couldn’t stop him from doing so. After returning from the hospital to his native village, he once again finds himself in the midst of the complex relationships of the people around him. And once again, he has to play the role of matchmaker. But this time, all of Grandfather Stepan’s energy is directed at helping… a goose and a gander to be together.

According to the liner notes and all contemporary databases with proven reliability, this is the only extant video footage of Jim Shepard's jaw-dropping band Vertical Slit in any form. Running around 30 minutes or so, filmmaker David Kerr's footage is very much a DIY affair, steeped in gloriously primitive, narrative experimentalism. The single free-form jam explodes visually into a psychedelic miasma, and there are dystopian cameos from all your favorite monsters.

"In Trama, Lebrat divides a surface vertically to be filmed in six equal segments of color (yellow, red, blue, green, violet, orange). The composition stays exactly the same all the way through the film. The filmmaker puts a band on the side of every two or three frames. Constructed step-by-step, using ten bands, the optical mixture of color induces strange pulsating effects." Raphaël Bassan