Somniloquies

A portrait of Dana Plays' 90 year old paternal grandmother, Peggy Regler, reminiscing about her love affairs and significant relationships. Regler tells about her failed first marriage, the agreement she had to stay until the children were grown (but to see other lovers) which resulted in the true love she found with her second husband and renowned writer Gustav Regler, who later died a tragic death in India. The love affairs are historically rooted in the political and technological developments 20th century, and are narratively based in a complex sound/image structure. Interludes (silent optically printed film passages narrated with inter-titles excerpted from her diaries, and early childhood memories) formalistically refer to early cinema. The footage in these passages is re-contextualized and interwoven metaphorically throughout the text.

Fifteen imaginative stable images in black, sepia, and white light. Serene and yet stimulating in spirit.

If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?

The first collaboration between Matthew Barney & Elizabeth Peyton, Blood of Two is a unique, site-specific work that draws its references from Hydra itself – the surrounding environment, animals, humans, and local traditions are all part of the project in equal measure. Blood of Two centers on the former function of the Slaughterhouse and the customs of Hydra to establish connections between paganism and religion, ancient and modern, the ritualistic and familiar. As much as its conflicted terms strive for balance and fusion, it is Blood of Two’s greater resistance to these impulses, its failure to surrender unconditionally to them that ultimately counts, as a network of overlaps and crisscrosses.

In a series of juxtaposed images and sounds, Jaromil Jireš comments on the tragic premature death of thousands as well as their posterity due to the atomic bomb.

John H. Whitney Sr. explains the graphic art potential of the computer and the methods and philosophy involved in his computer filmmaking. Preserved by the Academy Film Archive in 2012.

An Anders Weberg short film. Part of his Peer to Peer Art project.

Often called a “film poem” or a “film symphonie” Huszárik’s masterpiece consists of montages of horses from the dawn of time to the modern times from cave paintings to horse races.

Several fragments of one day in Leningrad in the autumn of 1989, refracted in the imagination of the artist.

"Visionary post-war modernist Tyeb Mehta channels the nightmares of the nation in Koodal, at once the artist’s self-described “autobiography” and a profound meditation on collage, crowd control, cinematic subjectivity and the violence buried within every glorious act of foundation." -- Sarkari Shorts

The film was made in the days of the August 1991 coup in Leningrad, USSR . Respecting the manner of a proprietary parallel cinema with the use of hand-held camera . Subsequently, Lars von Trier in his " Dogma " went on the same way , using a handheld camera without a tripod or placing special light. The soundtrack of the film is the soundtrack Emergency Committee appeal for the All-Union Radio August 19, 1991 . The film captured the moment of change red tricolor flag on the roof of the Mariinsky Palace on August 20, 1991.

The lovers travel as if magical cosmic twins; but their earthbound existence induces recurring distraction, ill health, and indifference. Resolution comes, but it too is multiply doubled.

Living in fragments, pieced together in varied ways, uncertainly, and yet... Inside there is a familiar chaos, awaiting a key...

Safe places to view from.

A film searching for life.

Beaches are closed during the COVID-19 pandemic. Nevertheless, the middle class must survive the tropicals.

LAST OF THE PERSIMMONS opens with a black-and-white image of a main inflating helium balloons in the shape of rabbits. Onto this image Mr. O'Neill places two mirror images an old Fleischer-style cartoon elephant comically licking its mouth as if in anticipation of yet another layered image, that of a ripe persimmon. —Manohla Dargis, "In the Studio's Shadow, An Avant-Garde Eye," The New York Times, 11/8/2004

I spent a day inside a small abandoned military fort by the sea. With the tide went up and down, I appeared and disappeared into the water.

I and other person, we exercise the daily movements by moving each other's body.

In NavelFable Mara Mattuschka subjects herself to a second birth through endless pairs of tights. Her body struggles so hard and in such a deformed manner from out of the layers of nylon that the sheer struggle for survival becomes visible.