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Swinging Light(en)
An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.
Plague Mass(en)
A conceptual live concert by Diamanda Galás, "Plague Mass" continues the themes of the suffering and misery of the infected found in her "Masque of the Red Death" trilogy.
bleared eyes of blue glass(xx)
The "bleared eyes of blue glass" in the title of this experimental short expand on a verbal image from Virginia Woolf's novel The Waves, considered the most experimental among the 20th-century British writer's literary works, from which the young filmmaker took inspiration for his film, borrowing passages and visions to explain his own understanding of what cinema is. A film that plays with water - precisely - and light, and yet in a very dark b&w lit up by rare flashes of colour, making a journey in the night in which the shadow of a man gradually acquires substance.
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[W I N G S O F L O V E](en)
An experimental short film about becoming lost in the hypnotic pull of the city, set to music.
EGGspression(xx)
Egglantine loves salt on her eggs. Eggbert prefers pepper. Who blinks first in this playful Easter ritual?
Emergency: The Living Theatre(en)
a 32-minute color film by Gwen Brown, featuring precious footage of Living Theatre productions “Mysteries” and smaller pieces, “Paradise Now” and “Frankenstein.” “The fusion of Brown’s freewheeling direct cinema and the Living Theatre’s performance for revolutionary change (amidst the heydays of both) unite as a dynamic concoction of the era, yielding for the viewer a shifting terrain of both critical insight and ecstatic zeal, not as a vacant nostalgia for a pre-commodified radicality, but as tactical inspiration for future days.” – Andrew Wilson (Artist’s Access Television)
Money, a Mythology of Darkness(el)
In a nightmarish world, dominated by the decline and degradation of Man , Christ resurrected wandering, across three different eras of human history.
Functional Block Diagrams(en)
A synthesis of sound and movement; colourful characters dance and move in repetitive patterns to percussive and melodic elements. A combination of motion and music that is hypnotic and beautiful. At first it feels structured and orderly but as more elements are added becomes quixotically expressive.
data-verse 3(en)
data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.
All Souls Carnival(en)
Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.
Rampo Noir(ja)
An anthology film consisting of four segments based on literary works by Edogawa Ranpo.
Witch's Cradle(en)
The surrealist film shows repetitive imagery involving a string fashioned in a bizarre, almost spiderweb-like pattern over the hands of several individuals, most notably an unnamed young woman and an elderly gentleman. The film also shows a shadowy darkness and people filmed at odd angles, an exposed human heart, and other occult symbols and ritualistic imagery which evokes an unsettling and dream-like aura. Considered an unfinished film.
At Land(en)
A woman washes up on a beach and embarks on a surreal journey, encountering others and fragmented versions of herself in a quest for identity.
Nocturnal(en)
A one minute short film showcasing the sights, sounds, and people that characterizes Singapore's nightlife.
Deshilando Luz(es)
A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?
Flaming Creatures(en)
Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.
Ghost Town(en)
Seraphim Cloud and his life size doppelgänger enter the netherworld of Calico Ghost Town deep within the Mojave Desert.
Deformed Analog Personality(en)
A humanoid film robot spews its stream of consciousness throughout its allocated screen time.
I Am Sitting in a Room(en)
I am sitting in a room is a sound art piece by American composer and sound artist Alvin Lucier composed in 1969. The first performance of the work was in 1970 at the Guggenheim Museum in New York. In collaboration with his partner Mary Lucier. The piece features Lucier recording himself narrating a text, and then playing the tape recording back into the room while re-recording it. The new recording is then played back and re-recorded, and this process is repeated. Due to the room's particular size and geometry, certain resonant frequencies are emphasized while others are attenuated. Eventually the words become unintelligible, replaced by the characteristic resonance of the room.
Wenn wir blinken können wir das Rauschen sehen(xx)
A camera rotates around the same four towers. Seasons, weather conditions and the positions of the camera change over the course of the film. The sound goes round in circles and drifts in variations.