An audiovisual poem floating through an apocalyptic landscape devoured by boreal wildfires and the ruthless exploitation of fossil fuels. Recorded in 2016 at the Athabasca oil sands in Canada.
2019-01-26
0
A resilient crop-farmer endeavours to preserve his land, legacy and way of life in the face of Australia’s ongoing ‘big dry’.
The environmental measures taken by the oil industry at the Sullom Voe terminal in the Shetlands.
Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion (200 frames per second) and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye
A meditation on transience composed through juxtaposition of sun-bathed exteriors of Split and dark interiors, landscapes of the city and close-ups of human faces, movements and stillness, the material and the spiritual.
From the infinitely small to the infinitely large, all things in the universe are tightly connected: they interact and restructure in a combination of movements and perpetual metamorphoses.
1996 Peter Rose short work. A magician-like figure delivers a peculiar speech that is embedded in extravagant arrays of time-delayed images that reflect and refract ideas about memory, time and language.
Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.
16mm film by Paul Clipson, and music by Sarah Davachi. Filmed in New York, Los Angeles, Hong Kong, Brisbane, Krakow, Sidney, Portland, Napa, Oakland and San Francisco.
Elaborate petal-like and multicolored flowers rising in white space until the whole field is as if crushed by floral designs in madly-swift mixtures of every conceivable previous shape from the Persian Series. Preserved by the Academy Film Archive in 2013.
It starts with a live radio broadcast from the Bikini Atoll a few days before it is annihilated by a nuclear test. Shows great footage from these times and tells the story of the US Navy Sailors who were exposed to radioactive fallout. One interviewed sailor suffered grotesquely swollen limbs and he is shown being interviewed with enormous left arm and hand.
This 1991 Academy Award®-winning documentary uncovers the disastrous health and environmental side effects caused by the production of nuclear materials by the General Electric Corporation.
On planet Sigma, enormous creatures are trapped inside the ice. And then, all of a sudden explosions erupt from subterranean volcanoes. The ice begins to melt; a global warming concludes the giants’ deep slumber and new life begins. The creatures crawl forth, out of the ice.
Part lyrical document, part farce, Animals Under Anaesthesia: Speculations On the Dreamlife of Beasts explores the imaginary unconscious minds of animals. Images of sex, death and the natural world are made manifest in the murky and disquieting dreams of a dog, a cat, a pig and a rabbit.
The silent film is about a depressive lady of the last century who travels through time to a beach of current times, but ends up coming across a completely polluted environment.
#11 (Marey Moiré) is a film in which all images were generated by intermittently recording the movement of a line. It is a film about the discontinuity that lies at the heart of the film medium.
Like reading the back pages of a discarded journal revealing the thoughts of a young man slipping into madness, Hers Is A Lush Situation mixes a disjointed narrative with an underlying thread of black humor to give a subtle view on what young, urban lives really look like today.
Hand painted, scratched animated Super 8 film examining the contradictions of the psychopathology of colonization.
Combines animation, documentary footage, and hand-painted film as well as slide projections, a painted 12" x 24" backdrop, and sculptural palm tree to create a kaleidoscopic portrait of the Puerto Rican psyche.