Shirking; Shrieking Specter

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.

Years after the crime, three clueless investigators discuss the disappearance of a young tourist in a small French town.

A teenager decides to shut himself off from the world around him after receiving bad news.

As years and years go by, a tiny civilization makes its way upwards.

A coming-of-age story about a high-school girl who wants to use magic, featuring the 11-member experimental band Vampillia

A film that places the bright and dark sides of life close together. From an understatement beginning, the movie drives up to an ecstatic highlight with a love act between two young people. The orgasm becomes an enormous image flow into the crematorium's death machine.

Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.

A poetic, semi-autobiographical short film of the sun setting over a village, shot from behind the curtains of a small, dimly lit room.

There is no escape… From one side of the globe to the other, there is no escaping the faces, the visions, the ever-watchful camera. There is no escaping the mask, there is no escaping the resonating echoes of images and sounds that cross each other over time. There is no escaping the cinema. There is no escaping the terrors of the mind. “A mysterious loner, perhaps a poet, journeys through a series of uncanny surrealistic landscapes with an unclear purpose. His adventure is divided into three sections. The main theme of this experiment is to compare the eerier qualities of different landscapes and interpose the characters within them, elaborating the project’s ongoing preoccupation with extracting sinister moods from ordinary settings. In a way, these can be seen as experimental horror films in which an atmosphere of dread is evoked and sustained without the expected narrative trappings.”

CRISP., wherein a jealous man's attempt to steal a delicious apple crisp causes reality to break down and begins a chain of events leading to an endless cyclical loop of jealousy and theft.

Arguably Larry Gottheim’s most exuberant experiment in the single-shot, single-roll format (and his first with a soundtrack), HARMONICA trains the camera on a friend improvising a tune in the backseat of a moving car. Held out the window, the harmonica becomes a musical conduit for the wind, while Gottheim's film transforms before our eyes into a playful meditation on wrangling the natural elements into art. - Max Goldberg

Within a single space, the director treats the sorrows of two people married to each other.

Rather pointless, rather stilted, fetid; not what we want us going after.

A poetic essay. An Algerian soldier wanders through Algiers and the countryside, whilst a voiceover of the soldier's mother laments his death.

Roda Viva Roda Brasil

A short film recounting the travels of a lonely astronaut confronted by the unknown. Unfolding as a mystery, it becomes a carefully subtle, autobiographical examination of the feeling of loneliness and the existential issue of not understanding life on earth and ones place among it.

"Frozen Jumper" begins in hit-and-run style with a pulsating textural noise. Flickering, nearly rectangular patterns join on the image plane, at first in black-and-white, bringing to mind the sprocket holes in celluloid film and, not least due to the lack of geometric precision, giving the impression of a pre-digital origin. As the soundtrack rattles on in a minimalistic way, the pattern’s twitchy dance is submerged in various warm hues such as yellow, pink, light green and light blue, which in a different rhythm and to a more agreeable music could be perceived as the signature of slightly retro psychedelia.

Circuit bent gain controller run into a CRT TV

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.