All Films

Staging of the battle. Scenes of extras running through the fields.

A model is photographed, but the film camera also comes close to her skin.

While making a hot dog in a restaurant, David Obermeyer reflects on class and labor.

In this documentary of the series *Paraskinio*, produced in 1979, we watch an interview with poet, screenwriter, and director Orestis Laskos by journalist Soula Alexandropoulou. Laskos talks about his career and recounts moments from it, as well as anecdotes from the productions and filming of the movies he has written and directed.

This is the story of John Andrews, world-famous Australian architect. In the mid-1960s, when only 29, Andrews was commissioned to design Scarborough College at Toronto University. One of the world’s first ‘megastructures’, it was an important experiment in urban and educational planning. Andrews also designed the Canadian National Tower in Toronto, which was the tallest freestanding structure in the world at the time it was built.

Young people spending time in a bar in Tallinn. Documentary with an artistic attempt to interpret the passage of time, the value of the moment.

An early experiment from Heather McAdams, mixed with audio from 'Tom Corbett's Space Patrol."

Unidentified people appear around the protagonist, Mr. M. No matter how many times he wakes up, he cannot escape from his dream. In a speeding, deserted subway, Mr. M falls asleep again. This is Yamazaki's second work in his filmography. Reflecting on the fact that his first 8mm drama, "The Melancholy of Poplar Trees," was less than a school play, he decided to make this film to see how much he could do within his own field of expertise. He unashamedly quotes various films, including Masanobu Nakamura's "Autumn in Beijing". An interesting precursor to his works " Anti-Interpretation" "Memories of the Seaside," and "Ghosttown at Dawn". This filmwork won the Student Encouragement Award at the 1980 Fuji 8mm Contest.

This short educational film introduces viewers to the vibrant world of camera-less animation. In just 10 minutes, it showcases three creative examples of animation made entirely by drawing, painting, and scratching directly onto film stock. Designed as an instructional resource, the film emphasizes how simple classroom materials can be used to produce expressive and visually striking animated works. With its energetic tone and hands-on demonstrations, it's both a fun watch and an effective teaching tool—perfect for budding animators or educators exploring experimental film techniques.

A portrait of Turkish artists living and working in Berlin.

Experimental short by Harumi Fujii.

Portrait of women where they look at the images of their own faces and reflect on that experience.

8mm film work from 1979 by the Film Studies Department of Bunkyō University. Directed by Mikage Sagisu. It is a feature film depicting the emotional journey of two women through love and romance. The film overflows with a vivid sensitivity characteristic of a female director. The French title means something like “Look at the end.” (It seems that there is a typographical error in the actual title.) The original film print does not have a magnetic sound track, so it is likely that the audio was played from a cassette tape in sync during screenings. Unfortunately, the audio tape has been lost, and it is now impossible to know what lines the characters were speaking in the film. The condition of the film itself is relatively good, and it appears it has rarely been screened since it was made, but it strongly conveys the atmosphere of the late 1970s. It would be a real shame not to watch it solely because it is now silent.

A film about lights and shadows.

An excursion to the Gaviota Islands in Lake Nahuel Huapi becomes a psychedelic trip: taking advantage of the very power of the natural landscape and its birds, a pair of mysterious characters seem to conjure up a spell.

Merging the subjective and the objective, the autobiographical and the anthropological, The Laughing Alligator is a highly personal observation of an indigenous South American culture. Recorded while he and his family were living among the Yanomami of Venezuela, this compelling work distills Downey's search for his own cultural identity and heritage through the encounter between the Western family and the so-called "primitive" tribe. Challenging the anthropological view of the Yanomami as violent cannibals, Downey focuses on the tribe's myths, rituals and ceremonies, documenting funerary rites in which tribal members eat the pulverized ashes of their dead to insure their immortality. Subverting conventional modes of ethnographic documentary, Downey participates as an active presence, "shooting" with his video camera as a means of creating an interactive dialogue between artist and subject and addressing his own "yearning for a purer existence."

A film by Pat O'Neill

Once thought lost, but recently found and restored by Anthology Film Archives, artist/philosopher Manuel De Landa’s Super 8 Ism Ism captures his truly inspired collage mutations of New York City subway ads during the mid-to-late 70s. Slicing and dicing the perfect faces of models into deviant ghouls, Ism Ism turns the homogenate into the ripening rot of nightmares.

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'

A bewitching, mysterious work of enveloping beauty, the film’s ominous title and a dedication to Anne Frank deeply inform our reading of its haunting subtext. Preserved by the Academy Film Archive, in partnership with the National Film Preservation Foundation, in 2009.

“One day at the beach…a typically Australian day…something I really looked forward to, when I first came here as a migrant (Bondi was the first surfing beach I’d ever seen). In the early ’60s there was hardly a weekend I didn’t go to the beach. But it wasn’t until many, many years later that I was filmically advanced enough to make a film about it. The simplicity of just turning the camera on and letting people do what they wanted to in front of the lends appealed to me…the carefree atmosphere appealed to me…the carefree atmosphere of the beach captured with the innocence of early cinema. I didn’t even look through the lens. Shooting horizontal mattes allowed me to play with the density of what was going on…the surreality of the beach, the waves of water and people, the hot and cold of sun and surf, overexposure…heat rising up, surfers riding waves in the sky and into buildings, seagulls ducking beneath the mattes, then re-appearing.” (Paul Winkler)

Jolly sing-song with an important message; switch off all appliances before going to bed, because your life could depend on it.

1979 Spanish experimental short

Feyers is Dirk de Bruyn's most complicated work employing the many techniques he has experimented with over the years. Appropriately subtitled 'a dance', this film's interweaving of various experimentations lends itself to a stunning, rhythmic effect.