Leftovers
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Used Innocence(en)
Using experimental narrative structure as his vehicle, Benning recreates the sensationalized and controversial circumstances surrounding Lorencia Bembenek, aka "Bambi", former "Playboy bunny" turned cop, turned accused and convicted killer who disappeared after a daring escape from prison. The film shows the evolution of Benning's and Bembenek's relationship presented through their actual letters read in voice over which depict the filmmaker's curiosity with the subject as it evolves from intrigue to a love obsession.
Hatsu Yume (First Dream)(en)
With a title referring to Japanese folklore, wherein things done on the first day of a new year are significant, the film - an ardent dream entirely shot in Japan - stands as a spiritual allegory equating light and dark with life and death.
Quick Billy(en)
A psychedelic montage of home movie footage gives way to a silent western story.
A Brief History of John Baldessari(en)
The epic life of a world-class artist, jammed into six minutes.
Moment(en)
A static camera records, in one single continuous shot, a woman's face before, during and after orgasm. The act of looking and the limits of the film frame are highlighted in this intimate sexual episode with Tina Fraser. Artist Stephen Dwoskin presents a powerful, personal moment while maintaining a distance and resisting the viewer being subsumed into the action on screen.
Bridges-Go-Round 1(xx)
New York City's various bridges transform into an urban jungle (jazz version) or an alien landscape (electro-acoustic version).
Kodachrome Two-Color Test Shots No. III(en)
This two-color (green-blue and red) film was produced as a demonstration reel at the Paragon Studios in Fort Lee, New Jersey, under the direction of Kodak scientist John Capstaff. It features leading actresses, including Mae Murray, Hope Hampton, and Mary Eaton, posing and miming for the camera to showcase the capability of the complex Kodachrome process to capture their translucent movie star complexions and colorful, high-fashion clothing.
Emak-Bakia(fr)
Emak-Bakia (Basque for Leave me alone) is a 1926 film directed by Man Ray. Subtitled as a cinépoéme, it features many techniques Man Ray used in his still photography (for which he is better known), including Rayographs, double exposure, soft focus and ambiguous features. The film features sculptures by Pablo Picasso, and some of Man Ray's mathematical objects both still and animated using a stop motion technique.
The Cut-Ups(en)
Essentially a dizzying montage of quirky shots of legendary Beat Generation writer William S. Burroughs and noted surrealist artist Brion Gysin, this nearly 20 minute avant-garde short features repeated articulations of such random things as "Hello," "Where are we now?," and "Look at that picture" instead of music or standard dialogue. The narrative is decidedly nonlinear and perplexing, with no discernible plot whatsoever as we see images of Gysin working on his paintings and calligraphic designs and Burroughs rummaging through draws, packing a suitcase, giving a young man a physical, making a call in a phone booth, and waiting on a platform for a subway train.
T.G.: Psychic Rally in Heaven(en)
An experimental film of the group Throbbing Gristle in concert.
The Wonder Ring(en)
An important early film by Stan Brakhage, which Joseph Cornell commissioned as a record of New York's Third Avenue elevated train before it was torn down. Curiously lacking in people, the film focuses on the rhythms of the ride and reflections in train windows, finding a real-world version of the superimpositions Brakhage would later create in the lab. Preserved by the Academy Film Archive in 2005.
Go! Go! Go!(en)
Various forms of everyday motion in and around a city are shown at rapid speed.
Mountain Vigil(hy)
Poetic film about the struggle of man's will and muscles against nature, about the rock-climbers who prevent landslides and eliminate their consequences.
Inhabitants(ru)
Inhabitants depicts animals in panic: the film is mostly filled with shots of mass migrations and stampedes (some, surprisingly, filmed from a helicopter). The title equalizes the species of the earth. Artavazd Peleshian merely alludes to the presence of human beings—a few silhouettes that seem to be the cause of these vast, anxious movements of animal fear. In many ways, this film is an ode to the animal world that moves toward formal abstraction, with clouds of silver birds pulverizing light. Peleshian said, “It’s hard to give a verbal synopsis of these films. Such films exist only on the screen, you have to see them.”
National Geographic: Lost Treasures of Afghanistan(en)
During the last three decades, war and terrorism have devastated much of Afghanistan's rich cultural past. Two giant Buddha statues were blown up by the Taliban, gold and priceless archaeological artifacts disappeared, artworks were destroyed, historic films were burned. But many courageous Afghan people were determined to save their heritage. Join National Geographic as it highlights the efforts of heroic Afghans who have refused to allow their culture to be destroyed. Marvel at the priceless treasures that have re-emerged, and listen to the stories of people who risked death to defy extremists threatening to obliterate Afghanistan's past, and of others with deep roots in the country who can finally come home now that the conflict has subsided.
The Mammals of Victoria(en)
The film begins with a series of horizontally running ocean tide waves, sometimes with mountains in the background, hand-painted patterns, sometimes step-printed hand-painting, abstractions composed of distorted (jammed) TV shapes in shades of blue with occasional red, refractions of light within the camera lens, sometimes mixed with reflections of water. Increasingly closer images of water, and of light reflected off water, as well as of bursts of fire, intersperse the long shots, the seascapes and all the other interwoven imagery. Eventually a distant volleyball arcs across the sky: this is closely followed by, and interspersed with, silhouettes of a young man and woman in the sea, which leads to some extremely out-of-focus images from a front car window, an opening between soft-focus trees, a clearing. Carved wooden teeth suddenly sweep across the frame. Then the film ends on some soft-focus horizon lines, foregrounded by ocean.