Power

Tom is a young guy from Zagreb, completely without money, trying to make films in Belgrade. He somehow manages to survive with a help of women. He doesn't believe in anybody, respects no one and is in constant conflict with the ruling system and order. After being left by a silly American girl, Tom binds with a woman whose husband is abroad. When she kicks him out, he moves in with her husband's sister, who later kills him in the attack of jealousy. All this is shown in the context of major historical events prior to 1968. with lots of archive footage of world leaders.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

In the eyes of a foreigner practically any street of Mexico City’s Centro Histórico holds potential for a film. Life on the street deserves more than just the natural condition of observer anyone could have, it demands an extra attention. In a 100-meter radius, the sociological exuberance of the events going on is simply impossible to ignore. The street is a mise en scène in itself.

Flòr da Baixa is the story of a journey that starts from Lisbon, touches Rio de Janeiro, Marseille, Taranto, and returns to the Portuguese city. It is a film about absence, about something that is missing, always and everywhere: in one's own room as on sunny and distant beaches, in foreign neighborhoods as on old, familiar walls. It is the diary of two solitudes, of two parallel gazes that rest on places and bodies, waiting to find each other and recognize each other in the same gaze, finally seeing the same image from the window of the Flòr da Baixa

Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive

A Trip Down Memory Lane is a 1965 experimental collage film by Arthur Lipsett, created by editing together images and sound clips from over fifty years of newsreel footage. The film combines footage from a beauty contest, religious procession, failed airflight, automotive and science experiments, animal experimentation, skyscraper construction, military paraphernalia, John D. Rockefeller and scenes of leisure, Richard Nixon and scenes of war, blimps and hot air balloons, and a sword swallower. Lipsett envisioned his film as a kind of cinematic time capsule for future generations.

In the early 16th century Italy is ruled by the powerful Borgia family, led by Cesare Borgia and his sister Lucrezia. In a ruthless power play, Cesare plots to have his sister’s husband murdered.

Levin lives in his memories and can't shake his first love. Caught in a spiral of constant changing memories he figures out what he really did. Meanwhile his boss forces him to join an elite group of brokers, who meet to fight each other on weekends. Those meetings are a counter balance to their stressful jobs. Levin decides that his big ego doesn't deserve to live. But instead of going through with this decision, he escapes again, risking the life of his boss during one of the fight weekends.

In this avant-garde classic, protagonist Louise deals with a change in her lifestyle in which she must learn to negotiate domestic life and motherhood.

A secret agent is charged with preventing a crime syndicate's plot to assassinate a young heiress.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

Portrait of Costa da Morte (coast region in Galicia, Spain) from an ethnographic and landscape level, exploring also the collective imagination associated with the area. A region marked by strong oceanic feeling dominated by the historical conception of world's end and with tragic shipwrecks. Fragmentary film that approaches to the anthropological from its protagonists: sailors, shellfish, loggers, farmers ... A selection of characters representative of the traditional work carried out in the countryside in the region, allowing us to reflect on the influence of the environment on people.

A lucid dream turned nightmarish reality. A ship sinking into a world of fear. A short film that’s mostly puppetry by one of America's most prolific twentieth century artists.

In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests. Preserved by the Academy Film Archive in 2001.

This short film documents the daily life of the goings-on on Orchard Street, a commercial street in the Lower East Side New York City.

Superman's pal Jimmy Olsen gets his own story. Boy meets girl. Boy loses girl. Boy meets boy!

A railway crossing guard and his wife live in a routine of total isolation and uneventfulness.

"Conspiracy of Silence" is a powerful, disturbing documentary revealing a nationwide child abuse and pedophilia ring that leads to the highest levels of government. Featuring intrepid investigator John DeCamp, a highly decorated Vietnam war veteran and 16-year Nebraska state senator, "Conspiracy of Silence" reveals how rogue elements at all levels of government have been involved in systematic child abuse and pedophilia to feed the base desires of key politicians

Ostensibly a portrait of a place where the artist had resided until recently, the new film by Robert Beavers conjures not only the memory but also the physical presence of those who have previously stayed there. Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my Room is a moving testament to existence (whose traces are found in literature, music, filmmaking, gardening) and our endless search for meaning and authenticity. The film's precise yet enigmatic sound-image construction carries a rare emotional weight.