Tarlabaşı

“Convalescing, when you don't have to participate in the world. Time to read, to dream, to look - the blue, the light of the television, the blue, the book, the patterns the light, the blue. Time to appreciate how much that really is.”

Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.

Experimental film by Motoharu Jonouchi comprised of both archival footage from the 1960s Japanese student riots and dramatised re-enactions. It was created as a tribute to Michiko Kamba, a student victim of the riots.

A group of leftist activists expose the exploitation of immigrant workers by a criminal network with connections to local government officials. The movie was produced by the group SLON (Société pour le Lancement des Oeuvres Nouvelles, also the Russian word for elephant). SLON was a film collective whose objectives were to make films and to encourage industrial workers to create film collectives of their own. Its members included Valerie Mayoux, Jean-Claude Lerner, Alain Adair and John Tooker, and Chris Marker.

Obrazy pražské periferie

A thrillingly lo-fi salute to the old-school, hand-crafted special effects that were once a mainstay of pre-CGI science-fiction films.

An experimental film that lifts the veil on the world of African American drag racing.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

A film by Philip Hoffman that chronicles the final days of his father.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra

Two halves split by the perseverance of a scorpion. Come on, feet.

An eight-hour contemplative epic, entirely starring sheep.

A small portrait of the volatility of intimacy and of breaking free from abusive cycles: made in response to a year of collapsing relationships and violent accidents that left me broken, dislocated and stuck in my apartment.

The last woman on Earth: Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments and visions of the future. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of humankind’s relationship with the natural world.

The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.

In the fall of 1987, Philippe Haas accompanied the sculptor Richard Long to the Algerian Sahara and filmed him tracing with his feet, or constructing with desert stones, simple geometric figures (straight lines, circles, spirals). In counterpoint to the images, Richard Long explains his approach. Since 1967, Richard Long (1945, Bristol), who belongs to the land art movement, has traveled the world on foot and installed, in places often inaccessible to the public, stones, sticks and driftwood found in situ. His ephemeral works are reproduced through photography. He thus made walking an art, and land art an aspiration of modern man for solitude in nature.

Cine de Emboscada

Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings.