All Films

About a depressive, aggressive and spontaneous form of music and rage. Seen and experienced in the Swedish welfare state capital, Stockholm, in 1978.

A series of exemplary visual elements unfold in many generations of images. The erotic scene which initiates this swirl maintains its persistent and non-consumable essence in the clash with nostalgia and fears, facts and dreams, memory’s debris. Ode to the invincible Eros.

A man and a woman, are in a closed cube that continuously rotates. Using animation, it is possible to look inside this moving space because walls are removed and replaced at just the right moment. The movements of these two people form a kind of choreography, defined by the rhythm and the mathematical nature of the cube. In about three thousand photographs, these movements are recorded in phases. These photographs were used as the basis for the film. Easy Action Animated is a film that is typical of the work of Verbeek & Wiertz. With great precision, they build animated worlds/spaces that have a strong mathematical character: cubes, spirals, and rotating surfaces. These are abstractions in which man is imprisoned in an alienated way, whether he is a spectator or a subject.

Documentary-manifest in defense of the inclusion of the Brazilian short film in the national cinema circuit, accompanying each foreign feature film as a market reserve

Brazilian singer Elis Regina performing at the Villaret Theatre in Lisbon, 1978.

Silent or with minimal sound, Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscura and image processing devices. Of these tapes, Hill has written that "much of the subject matter and the expressionistic method of working underline and in some sense parody the traditional medium of painting." In Windows, the image of windows in a darkened room is digitized, densely layered, and otherwise abstracted in a series of graphic compositions.

There's a "silver lining in every cloud" as Donald O'Neary turns every misfortune his two neighbours can engineer into gold coins. Against the background of the Irish countryside, the customary "rich but dumb" characters meet their match in the "poor but crafty" hero. The story introduces the student to our rich multicultural background through the exploration of folklore of one of the peoples that make up Canada's cultural mosaic.

Nietzchka Keene evokes a woman’s fractured inner world in this enigmatic portrait composed in water, mirrors, and blood.

Brujo is an exploration of shamanism and curing among the Mazatec Indians of Oaxaca, Mexico, and among two groups of Maya Indians in southern Mexico and Guatemala.

A precursor to Lucier's later works, in which light is used as metaphor, Bird's Eye is an evocative formalist exercise in which Lucier explores light in relation to the material properties of video. Aiming a laser directly at the camera's eye, she burned the vidicon tube. Changing the focal length of the lens and moving the laser, she records the optical effect of the camera's light perception and absorption. The resulting configurations, accompanied by Alvin Lucier's electronic score Bird and Person Dyning, become an abstract calligraphy of light. Lucier's technology-based, visual records of refraction and reticulation refer to the Impressionists' empirical observations of changes in light over a measured period of time.

A man interviews people. Michael Dudok de Wit graduated from the West Surrey College of Art with this film.

A "queixada" is a small animal that when it feels threatened unites to face the enemy. This nickname was given to the workers of Perus cement company, located in São Paulo in the neighborhood of the same name, when, in 1962, they organized a strike for wage arrears and lack of working conditions. The documentary is a dramatized reconstruction made 16 years later by the workers. (1978 - SP)

Kids learn tips on first aid.

Nineteen images in black, sepia, and white light.

This very short documentary from the Hinterland Who’s Who series provides an introduction to the whooping crane.

Reel 1 of Gérard Courant's on-going Cinematon series.

Isabel takes very good care of her own things, but is careless with things that others share with her. When she "magically" changes places with those she has returned damaged property to, she learns to treat all property as if it were her own.

At venues such as Southern Exposure in San Francisco and Some Serious Business in Venice, California, Wiehl performed Arrowcatcher, creating a sculpture through shooting arrows into a rectangular structure that would visibly suspend their movement in time. He explored variations of form and multi-layer, parallel panes of material – cloth, Plexiglas, and glass with mirror base. Filmed with a high-speed military camera, the slow-motion film Arrowcatcher (1978) was screened prior to his live performance at the San Francisco Museum of Modern Art. The sculpture remained on view as part of Exposures, one of the group exhibitions presented within the major overview The Floating Museum: Global Space Invasion II (1978). The Floating Museum (1975-78), founded and directed by Lynn Hershman Leeson, worked with Wiehl on his site-specific project A Month Becomes An Hour at The Foothills Community Planetarium in Los Altos, California.

The protagonist's adventures tell a story about the water supply system.

Nomura manipulates sex, age and social status on the appearance, in other words, the code for reciprocal recognition in society is visible through these photographs and film. This makes age: M→F a piece unique among Nomura's majority of work from the same period, which treats human bodies as neutral objects. Here one can feel Nomura's persistent consciousness of wanting to recognize and examine ambiguity of human which is "specific subject" or the existence in society where self and others are woven into the complex system as well as materialistic existence or "abstract body."

The story of a successful Greek immigrant, the restaurant owner Giorgos Kozompolis, who emigrated in the mid 1960’s from the poor village of Sotirianika, in Mani to the developed city of Heidelberg in the Federal Republic of Germany.

A group slowly comes to life on the morning after a party.

Between six and eight o'clock in the morning, two young women go from a diffuse but different discomfort for each of them, understand this discomfort, and discover the fragility of the movement. (CJC)

"In this work in progress, which will never be completed, even though he has screened it in public several times, the filmmaker discusses with the writer France Huser the difficulty of filming / women / of letters / and of making a frontal portrait, which will inevitably have to be reworked." - Gisèle Rapp-Meichler