White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.
Documentary about the making of "Intruder".
Early 1960s realist drama following a day in the lives of two London flatmates. Sylvia Syms and June Ritchie star as Billa and Ginnie, two singletons sharing a London flat who both work as night club hostesses in the same Soho club. Tensions arise when Ginnie becomes romantically entangled with rich married businessman Bob Shelbourne (Edward Judd), causing Billa to become jealous of their relationship.
This Traveltalk short visits Rocky Mountain National Park and a nearby dude ranch in Colorado.
A drama about love, loss, and memory for the gorehound crowd. A married woman in 1940's pre-war America must make a difficult decision upon her return home from a missionary position.
Ken is Ktar’s first son. Ken’s mother is very sick and has left them. Ktar re-marries and has a new son named Un. Un finds out that Ken’s mother is still alive. First,Ken can’t accept that his real mother has leprosy but when he goes see her, she’s already commit suicide. Ken’s thinking about committing suicide; Un and Pinkaew try to stop him, but too late. Ktar is shocked by what has happened and also dies. Un and Pinkaew get married in the end.
An all-Black comedy and dance revue with stars of stage and screen.
When the evil Orteca convinces an office worker to contract with and unleash the Spider Deadman, Ikki Igarashi transforms into Kamen Rider Revi to stop them! At his side is Kamen Rider Vice... a devil that lives inside his mind that Ikki has made a deal with!
Retrospective documentary on the making of the low-budget horror film Prison (1987)
13 year-old Nina hates her Mom, her thighs and the ill-fitting bridesmaid dress she must wear tomorrow at her mother's wedding. When her Mom has to help her out of the dress, she decides to take matters into her own hands.
Calino goes politely around to three or four people from the bourgeois class, trying to sell them a lightning rod: but due to a factory defect, the apparatus attracts lightning instead of driving it away.
A young businessman goes to a magic expert to learn hardness and skill with his cynical and greedy collaborators. He becomes a very good tap dancer, but will he be able to get free of his old boss?
Hard Justice (2007) was a professional wrestling pay-per-view (PPV) event produced by Total Nonstop Action Wrestling (TNA), which took place on August 12, 2007 at the TNA Impact! Zone in Orlando, Florida. It was the third event under the Hard Justice chronology. Nine matches were featured on the event's card.
The two hopeless roommates return in the second episode of 'IKEA Heights: The Next Generation', expressing all of the details of their sordid relationship drama through the medium of song.
The evil Queen Tenefi demands that a steady supply of young women be sacrificed to the God of Fire. Maciste intervenes and saves from this sacrifice a village's women including the beautiful Antea. Maciste then becomes involved in an effort to restore to the throne of Memphis its rightful ruler, Prince Iram.
The video opens with a barrage of explosive imagery along with an audio track of a siren taken from the 1970s TV show Wonder Woman. The following scenes are fast paced repeated shots from Wonder Woman, with several scenes following of actress Lynda Carter as the main character Diana Prince, performing her transformative spin from secretarial role into superhero role. […] The representation of repeated transformations expose the illusion of fixed female identities in media and attempts to show the emergence of a new woman through use of technology. […] The video ends with a scene of repeating explosions that precedes a blue background with white text that scrolls upwards, delivering a transcription of lyrics to the song ‘Wonder Woman Disco'.
The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.
Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.
An experimental and video art film in which an ox is butchered by a butcher.
'Is it a plaisir' is an experimental short film that explores femininity and the body as a sharp territory, crossed by the tension between desire and imposition. Through symbolic, sound and visual saturation, the film acts from pleasure (plaisir), revealing a liberation that emerges in the midst of excess, where intensity and lightness, dark and light, intertwine, collide and converge.
Strange things occur tonight whether the paranormal phenomenon is the invisible invasion of aliens from outer space or light flashes of another dimension? We will never know. Are we alone or may we encounter extraterrestrial species that are coming at night to conquer our dreams, our body and mind? What are you afraid of?
A young, wannabe streetwear influencer dying to make an impact on the world gets a lot more than he bargained for when a shy but obsessive fan decides to help him become a star for his own gain at the expense of everyone else involved. Macabre Metrics is an almost feature-length, visually experimental exploration into the world of image culture set in Seoul. Shot entirely on iPhone with animated sequences.
This experimental short film by Iain Delavan serves as an abstract, yet harrowing expression of his struggles with Post-traumatic stress disorder, due to his repeated childhood sexual abuse. Iain was diagnosed with PTSD in March of 2022, and this film boldly represents the continued battles that Iain must face every day, such as severe depression, self-harm, panic attacks, flashbacks, nightmares, suicidal ideations, and other painful symptoms.
The Karikpo masquerade - a traditional dance of the Ogoni tribe - is transposed onto the remnants of a faded oil industry programme in the Niger delta.
An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities
Experimental video art compiled from video taken on an LG Env3 flip phone circa 2009-2010
This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.
Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.
In the present work, the artists appears lying on his back, his eyes mostly closed, dreamingly listening to a walkman that plays, a recording of 'The Best of Lou Reed and the Velvet Underground'. The artist can hear the music through his earphones, but as viewers we are only privy to the sound of his voice that whispers the melody. As we listen to the hypnotic interpretion of the familiar songs - as emblematic for pop music history as 'Psycho' is for film - we are forced to mentally 'reconstruct' the remaining orchestration, instrumentation and vocals. We must attempt to reassemble something we already know to be a fact by negotiating the sticky mess of interpretation, meaning, and memory.
CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.
One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.
Paik produced this exuberant, high-speed collage as a commission for the National Fine Arts Committee of the 1980 Olympic Winter Games. In a fractured explosion of densely layered movement and action, images of Olympic sports events are mixed with Paik’s recurring visual and audio motifs.
In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).