
In three virtuosic sequences created entirely in-camera, Benning alternates contrary camera movements in a trio of Chicago locations with increasing rapidity to a point where they first fracture and then merge in the viewer’s eye. Preserved by the Academy Film Archive in partnership with Austrian Film Museum in 2013.

In three virtuosic sequences created entirely in-camera, Benning alternates contrary camera movements in a trio of Chicago locations with increasing rapidity to a point where they first fracture and then merge in the viewer’s eye. Preserved by the Academy Film Archive in partnership with Austrian Film Museum in 2013.
1976-01-01
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0.0Short film made up of various clips showcasing the Cinecolor process, including a visit to a Marx Brothers film set. Preserved by the Academy Film Archive in partnership with The Film Foundation.
6.0Albert and David Maysles (Gimme Shelter) directed this 53-minute documentary about movie tycoon Joseph E. Levine (1963). Preserved by the Academy Film Archive in 2012.
One of Brakhage's series of short films painted directly on film, from 1999. Preserved by the Academy Film Archive in 2013.
A singular cinematic figure, San Francisco’s Mike Henderson became one of the first independent African-American artists to make inroads into experimental filmmaking in the 1960s. Henderson’s work throughout the 1970s and 1980s, from which this program of 16mm films is culled, thrums with a sociopolitical, humorous sensibility that lends his small-scale, often musically kissed portraits (which he later dubbed “blues cinema”) a personal, artisanal quality. - Film Society of Lincoln Center. Preserved by the Academy Film Archive.
0.0"The film’s haunting images are accompanied by the continuous sound of a helicopter circling overhead, which at the close gives way to the distant sound of police sirens. The beams of light, which seem to emanate from above, could be confused with helicopter searchlights, a reading whose symbolic significance evokes both security and baleful scrutiny. These sounds, however, are not only immediately associated with the events of September 11; they have also become a ubiquitous presence in the urban sonic landscape. Murray reveals the subtle disconnect of sound and image only gradually, allowing conscious recognition to develop slowly in viewing the film." -Whitney Biennial catalog, (2004). Preserved by the Academy Film Archive in 2014.
6.6Two detectives clash over the hunt for a burlesque dancer’s killer in Los Angeles’ Japanese district.
“When Picasso died I wanted to make the first post-mortem documentary, as I knew would happen anyway, and cheaply. The film took four hours to finish from camera to print and cost a little under $5." Preserved by the Academy Film Archive in 2008.
6.5A renegade police captain sets out to catch a sadistic mob boss. Preserved by the Academy Film Archive in 2016.
0.0Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity. Preserved by the Academy Film Archive in 2014.
3.2A truly major work, I Don’t Know observes the relationship between a lesbian and a transgender person who prefers to be identified somewhere in between male and female, in an expression of personal ambiguity suggested by the film’s title. This nonfiction film – an unusual, partly staged work of semi-verité – is the first of Spheeris’s films to fully embrace what would become her characteristic documentary style: probing, intimate, uncompromising. Preserved by the Academy Film Archive in 2014.
5.0A sideshow barker uses magic and visual aids to alert the public that proper food management is both a resource and a weapon that could be to America's advantage if conserved properly in winning the then current World War. Preserved by the Academy Film Archive, Academy War Film Collection, in 2008.
A historical film contrasting the two Germanies – the good and the evil – which struggled for power between the two world wars.
7.5Londoner Harry Fabian is a second-rate con man looking for an angle. After years of putting up with Harry's schemes, his girlfriend, Mary, becomes fed up when he taps her for yet another loan.
0.0Van Meter had three camera rolls of 7242 Ektachrome EFB, which he fully ran through his camera each day of the 3-day Trips Festival. The end result was three 100 ft. rolls of film that each had been triple exposed in-camera, each layer of exposure representing a day of the festival. Aside from just two or three necessary structural edits, Ben spliced the three rolls together essentially unedited. This was then set to a soundtrack that was achieved in roughly the same manner, via triple layering of sound he recorded throughout the festival; He calls the film “a documentary of the Trips Festival from the point of view of a goldfish in the punch bowl.”
6.9Shortly before the start of WW2, renowned British big-game hunter Alan Thorndike, vacationing in Bavaria, has Hitler in his gun sight. He is captured, beaten, left for dead, and escapes back to London where he is hounded by Nazi agents and aided by a young woman.
Two aspiring Italian actors, hoping to become movie stars, dream of moving to New York City to study at the Actors Studio. Preserved by the Academy Film Archive in 2011.
6.7After discovering the dead body of her teenage daughter's lover, a housewife takes desperate measures to protect her family from scandal.
7.4In New York City, an insolent pickpocket, Skip McCoy, inadvertently sets off a chain of events when he targets ex-prostitute Candy and steals her wallet. Unaware that she has been making deliveries of highly classified information to the communists, Candy, who has been trailed by FBI agents for months in hopes of nabbing the spy ringleader, is sent by her ex-boyfriend, Joey, to find Skip and retrieve the valuable microfilm he now holds.
6.9A tabloid editor assigns a young reporter to solve a murder the editor committed himself.
7.3Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.