Wie das Öl ins Haus kommt

A mockumentary about four people and their idiosyncratic ways of saving the planet.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Documentary on movie special effects.

A still, highly overexposed shot of a car bridge and the river below. A cinematic haiku by Chris Marker.

A cinematic haiku by Chris Marker.

An overview of Osborn manufacturing equipment, in particular their load runners in utility plants and factory environments.

A short film which has its emphasis on back street walls with peeling posters and the constant pedestrian traffic in the foreground. It has a static camera positioned in front of the walls; experimental editing techniques, no dialogue-just background music, and quick edits of blackness throughout.

Shows a market where puppies are bought and sold. Several puppies are placed in a cloth bag, and they struggle to break free. One bites through the bag, pokes his head, and is observed in his triumph and then confusion.

What does it mean to be goth—to be an outsider, to live both on the margins and in the midst of society? Filmmakers Jordan Hemingway and Alban Adam prize open the coffin on a world of darkness and light, exploring its multiplicities and intersections with subcultures and the ever-present experience of queerness.

Tenório

10 Meter Tower is a short film taking place in a swimming pool with 6 cameras aimed at the tallest diving tower. All focus is on the 43 people between 9 and 78 years old. They have one thing in common, this is the first time in their lives they climb up to the platform to make the decision whether to jump or not. The situation itself highlights a dilemma: to weigh the instinctive fear of taking the step out against the humiliation of having to climb down.

This is the story of Vasiliy Ilyin, a retired farmer from the village of Ryshkovo, on a first time journey to see the world, New York, the ocean, and a cover photoshoot for Esquire Russia

Working with Luigo Fulci and making 'Touch of Death'.

A view of Sydney Harbour. Australia's feathered icon laughs the bridge into animation. The bridge dances to a rhythm created by the hype which sails beneath it. A parody of a view which people pay millions to be near.

An intimate look at cinematographic creation, this visual essay shares with us secrets of the legendary Canadian animator Norman Mclaren and his personal view of filmmaking.

A cinematic haiku by Chris Marker.

Calentoso, is a young boy that must transport mules across the mountains. He will be challenged to discover the deep secrets that the summit entails. This film is based on the legend of the ghost of the Ruiz Snow Mountain in the Region of Cumanday in Colombia.

The High Holy Brothers is a documentary on a mysterious Messianic cult formed by peasants who fled the violence of the forties/fifties in Colombia and are admitted to live in the mountains of southern Tolima. Its members dress in sacks, they have their own dialect and regard everything as “Blessed”, minus the right side of the body, which castrated covering it with the “holy coat”. This group rejects all elements of the consumer society, established institutions, the state, church and political parties.

Sicily, Granitola, 1955. At the first light of dawn, the fishermen set out in their boats for open water, timing the rhythm of their oars to murmured chants. They set their nets in the sea, regulate the cords, organize the boats in a square. The men’s work becomes increasingly harder as the tuna are hoisted onto the boats, wriggling, beating their tails until death arrives and the water is tinged with blood.