Negativland: No Other Possibility

'Amy, is narrated by a model (Liisa Repo-Martell) who’s painfully uncomfortable with her own body and “old woman’s” face. Astonishing closing image is a tightly composed telephoto shot on the start of a marathon race among young schoolgirls, dashing toward and then across the screen in ultra-slo-mo, and accompanied by a girls’ chorus hauntingly singing Brian Wilson’s God Only Knows. Widely eclectic lensing and looks in various media and in color and black-and-white flow nicely from one section to the next, aided by gifted editor Mark Karbusicky.' ~ Robert Koehler, Variety - Part 7 of 7-part bio-feature Public Lighting (2004).

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

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.

Video collage distributed by the label Come Organisation. I - IV.

A haunting documentary on the pains of growing up male. It explores the inner and outer cruelties that boys perpetrate and endure. The film provokes the viewer to reflect on how our society can deprive boys of wholeness.

A completely new story based on existing footage from the series Columbo.

Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

This documentary is a journey into our own fascination, a collection of portraits of folk musicians living in New England, and a study of the ground on which their music is founded. We listen to them as they tell their stories and play their music. First and foremost, Behind a Hill is a tribute to these musicians and a rare peep into the house parties and basement jams of New England, in the northwestern corner of the USA, with the vain hope attached that maybe you, the viewer, will grow as fond of the music as we have. When we first encountered these musicians, we were overwhelmed by the quality of their musical output. We were entranced by the melodies, harmonies, rhythms, and tempos and every other element that constitutes a song (or, as is often the case, a piece of abstract drone music, heavy feedback, or someone banging a steel pipe against a bag of dirt while chanting in a yet undiscovered language, or...).

Produced in 1993, The Grand Delusion is one of our most completely realized works. In addition to taking the usual form of a Tape-beatles release (a CD), The Grand Delusion was also delivered in the form of an ‘expanded cinema’ presentation involving three-screen motion picture projections and sound. The screen space for this production is intended to be three times the width of the normal 3 to 4 "Edison" aspect ratio of 16mm. The presentation only uses the full width intermittently, so transitions from one form to the next has been translated here by means of a video effect. As a live performance presentation, The Grand Delusion has been screened in dozens of venues across North America and Europe.

Emerging from the LA underground in year 2000, a self-proclaimed "video band" called TV Sheriff & The Trailbuddies hit the scene with their twisted take on performance art and VJ remixing. They have since taken their unique act to venues worldwide, providing animated commentary on the state of mind control in the USA. The Trailbuddies focus on the banality of television, creating rhythmic collages from appropriated clips of the most absurd broadcast moments. And besides their virtuoso sampling, the madcap ensemble creates original—and hilarious!—karaoke-style melodies on mass-media manipulation. Behind TV Sheriff & The Trailbuddies is the ingenious, Emmy-award-nominated Davy Force, an exceptional combination of brilliant director and hands-on computer artist. His recent projects include music videos for Devo, animated commercials for Bandai and the show open for Tim & Eric's Awesome Show Great Job.

King of the Jews is a film about anti-Semitism and transcendence. Utilizing Hollywood movies, 1950's educational films, personal home movies and religious films, the filmmaker depicts his childhood fear of Jesus Christ. These childhood recollections are a point of departure for larger issues such as the roots of Christian anti-Semitism.

A woman is reduced to tears. She bends over backwards trying to be a good wife and mother. Her head is cut off from her heart. A doctor picks her brain. A boy inherits his mother's depression. Short of Breath is a haunting, emotional collage about birth, death, sex and suicide. It's like a punch in the stomach.

A collaboration between Soda_Jerk and The Avalanches.

Selbstportrait 1

A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.

A battle between nature and culture, between organic rye-grass and artificial turf. American football is played on rectangular fields, 120 yards long and 160 feet wide. These dimensions defined the framework for this film. Made with images found in Google Earth. With music by Michel Banabila.

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn't illustrate the image and the image shouldn't absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere.

In this "beautifully intimate and utterly unique piece of cinema", Toby Amies crosses the line between filmmaker and carer, trying to cope with the strange and hilarious world view of the fragile eccentric, Drako Zarharzar. A love story. Drako Oho Zaraharzar can remember modeling for Salvador Dali and hanging out with The Stones. But he can’t remember yesterday. Following a severe head injury, Drako Zaraharzar suffers from terrible memory loss, he can access memories from before his accident, but can’t imprint new ones. As he puts it, “the recording machine in my head doesn’t work”. Consequently, and as an antidote to depression he chose to live “completely in the now” according to the bizarre mottoes delivered to him whilst in a coma.

Trance dances and out of body projection. In front of the camera, Parvaneh Navaï becomes a mediator who enters in contact with and immerses into the energies of Nature, while her own energy radiates and echos in the forest ("selva"). The camera amplifies and expands her presence, transforming the forest into an imaginary space. The camera becomes a painter's brush.