The Trial

Through the use of time-lapse, microscopy and animation, this film lyrically explores the concept of "Li," a Chinese word that refers to organic patterning and the inherent order of the physical world.

One of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage (1876-1954). Based on Lesage's painting A Symbolic Composition of the Spiritual World from 1923.

A bowl of blueberries in milk, changing light radiant on the berries and on the glazed bowl, the ever more radiant orb of milk transforming into glowing light itself, with a brief shadow coda answering the complex play of shadows. The regular pulses of light framing the looser rhythmus of the spoon, itself a frame. A charging of each of the frame's edges with its own particular energy. Within and without, whites and blues, lines and curves. The pulses of vision, the simple natural processes, lift the spirit.

A fixed camera companion to FOG LINE. Bright green leaves stripped from ears of corn, and later, the vibrant yellow ears placed steaming in the waiting bowl. Each of these actions inaugurates a period in which one contemplates an image whose steady transformation is barely perceptible–the delicate slow movement of light and shadow, the evolution of subtle steam into the film grain. A meditation on the fragile moments of corn's passage from living sun-nourished plant to food to light image. The mind attempts to grasp duration itself, to distinguish its own creating from its perceiving, but distictions blur in the wholeness of times's and consciousness' flow.

“A portrait of Carla Liss, evoking the atmosphere of the old horror films we both loved.”

A satiric comedy which dissects the iconography of the 'Soviet Hero'. Original footage of a propaganda film from 1941 is the starting point for this parody of the ideological cliches of Soviet cinema. It follows the story of a Russian crew across the North Pole.

Ten year old Benjamin and his mother live on an isolated farm under the violent reign of his father. Mother takes the beating and tries to cover up to keep things normal. But when Benjamin one day witnesses this beating, his suspicions are turned into facts. Benjamin wants his father to apologize to his mother for hitting her. Benjamin naively believes that things can be set straight with words alone. When Benjamin worsens the situation by taking his father's puppy as a hostage things escalate to a point where his mother has to step up and do what she should have done a long time ago.

The third part in a series of films dealing with naturally-derived psychedelia. Shot during a performance by Rhode Island noise band Lightning Bolt, this film documents the transformation of a rock audience’s collective freak-out into a trance ritual of the highest spiritual order.

"TRYPPS #7 (BADLANDS) charts, through an intimate long-take, a young woman's LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell's unique investigation into the possibilities of cinema as a site for transcendence." - Michael Green, Museum of Contemporary Art Chicago

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.

A very personal interpretation, to say the least, of the passion of the Christ According to St. John.

Alone in her apartment, Nemo learns to play games with her grief. She cooks; she does her makeup; she knits a sweater that never ends. Meanwhile, the destruction of the world outside looms, threatening to encroach on this inner life.

Entertaining Dadaist experimental short, similar to Man Ray's work, full of shifting geometric shapes, stock footage of seagulls, flying eyeballs, and glaring floating heads.

She is a nameless woman with a radiant presence, full of passion and joy. He is an elusive young man, with a strong and demanding personality, who goes by the name of Alexander - could it be the eponymous Alexander the Great? They are mysterious, they are beautiful, and they represent the Divine and the human essence that merge together at Christmas time. But this Christmas eve, they will tell us their secrets...

A walk through England’s south coast evokes the artists who lived and worked there.

Three people become connected through mysterious circumstances involving electronic devices which spontaneously appeared in their world.

At least forty films have been made about the Living Theatre; it remained to the American underground filmmaker Sheldon Rochlin (previously responsible for the marvellous Vali) to make the 'definitive' film about one of the most famous of their works, Paradise Now, shot in Brussels and at the Berlin Sportpalast. Made on videotape, with expressionist colouring 'injected' by electronic means, this emerges as a hypnotic transmutation of a theatrical event into poetic cinema, capturing the ambiance and frenzy of the original. No documentary record could have done it justice.

Love never sounded so good, until Corey must decide between two love interests and whether he wants to give up the joys of the single life.

Charly, a young man in his thirties, is illiterate. He hides this handicap by combining humor and a sense of trickery. Charly found his mode of expression: music, for which and by which he lives while searching in the metro with his friends. It is there that he will meet Marie, seduced by this marginal sax player. Marie, despite the tricks deployed by Charly, will quickly realize that he is illiterate. But love has already given Charly the desire to learn to read...

A short avant-garde film from Finnish director Eino Ruutsalo.