Self-Portrait (Asleep)

The bombings recently carried out by the Revolutionary Breton Army (ARB) have drawn attention to the political and cultural history of the Breton movement. The writer Roparz Hemon is one of its emblematic figures. He was born in Brest in 1900, and died in Dublin in 1978 after thirty years of voluntary exile in Ireland following his trial for collaboration at the end of the war. He had indeed organised the first Breton-language radio programmes under German control. The work of this poet, novelist, and translator of Shakespeare and Cervantes is dominated by the theme of the dream.

The controversial Swedish author Anderz Harning (1938-1992) share component of his writing, his sources of inspiration and his never ending anger. "Didn't I say so/Vad var det jag sa" are the challenging words on his memorial stone. Anderz Harning was a major critic of the modern bureaucratic society, nepotism and abuse of power. In his autobiographical novels "Stålbadet" and "Asfåglarna", he reflects on his upbringing in a Nazi home in Sweden.

Through the use of time-lapse, microscopy and animation, this film lyrically explores the concept of "Li," a Chinese word that refers to organic patterning and the inherent order of the physical world.

Trance dance and water implosion, a line drawn between secular freak-outs and religious phenomena. Shot in a single-take at a sacred site on the Upper Suriname River, the minor secrets of an animist are revealed as time itself is undone. Rites are the new Trypps, embodiment is our eternal everything.

Film in Which There Appear... is a six-minute loop of the double-printed image of a "China girl" or "Shirley card", her image off-center, making visible the sprocket holes and edge lettering on the film. According to Land, within the loop, "no development in the dramatic or musical sense" occurs. Fred Camper described Film in Which There Appear... as "a kind of Duchampian found object, a [...] film that focuses attention on the medium and the viewer." There also exists a 20-minute "widescreen version" involving two prints of the film projected side-by-side, with the left print flipped horizontally so that the "China girl" forms an almost complete face in the center.

Experimental, cinematic symphony of Granada, José Val del Omar's birthplace.

A portrait documentary tracing the inspiration, philosophy and imagination of the celebrated theatre and screen writer - and Bunuel's long term collaborator - Jean Claude Carrière. Carrière predicts that between the house he was born in and the cemetery in which he will end there is a life journey of just 250 meters. "Carrière: 250 Meters" follows him as he reflects on the wealth of global traditions of storytelling, travelling through past and present, across countries and cultures from Paris to New York, Mexico and India and joined by his family, friends and collaborators. A testament to the life and work of an extraordinary man and a key architect in contemporary cinema.

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

An atmospheric essay, which is an alternative version of Count Dracula, a film directed by Jess Franco in 1970; a ghostly narration between fiction and reality.

Grand Opera marks a stock-taking of Benning's work and his life, presenting a personal and artistic autobiography woven together with a series of events dealing with the historical development of the number pi, Benning's travels, and homages to Michael Snow, Hollis Frampton, George Landow (Owen Land), and Yvonne Rainer.

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton

We move back and forth between scenes of a family at home and thoughts about the stars and creation. Children hold chickens while an adult clips their wings; we see a forest; a narrator talks about stars and light and eternity. A dog joins the hens and the family, while the narrator explains the heavens. We see a bee up close. The narrator suggests metaphors for heavenly bodies. Scenes fade into a black screen or dim purple; close-ups of family life may be blurry. The words about the heavens, such as "The stars are a flock of hummingbirds," contrast with images and sounds of real children.

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.

A playful, free, and personal film in the form of a letter, a film interwoven with a thousand stories knit together with different textures, a book of images where a filmmaker shows the images and the stories he wants to share.

Ron Rice's Chumlum is one of those films in which the conditions of its construction are integral to the experience of watching it. It is a record of a cadre of creative people having fun on camera, playing dress-up, dancing, flirting, lazing around.

Part documentary, part personal essay, this experimental film combines archive imagery with the striking wintry landscapes of Alaska to tell the story of immigrant experience coming into the UK from 1960 onwards.

Chao-Li Chi shadow boxes indoors and practices with a sword outdoors. Theoretically, the film describes in a single continuous movement three degrees of traditional Chinese boxing, Wu-tang, Shao-lin, and Shao-lin with a sword. A long sequence of the ballet-like, sinuous Wu-tang becomes the more erratic Shao-lin; in the middle, there is an abrupt change to leaping sword movements, in the center of which, at the apogee of the leap, there is a long held freeze-frame.

Produced May-June 1891, this experimental film fragment was one of the first made in America at the Edison Laboratory in West Orange, N.J. The filmmakers were W.K.L. Dickson and William Heise, both of whom were employed as inventors and engineers in the industrial research facility owned by Thomas Edison. Heise and especially Dickson made important technical contributions during 1891-1893 with a horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film. Leading to the invention of the world’s first successful motion picture camera—the Edison Kinetograph—and to the playback device required for viewing early peepshow films—the Edison Kinetoscope. Named to the National Film Registry in 2010.

Early Edison short showing two men fencing.

William K.L. Dickson and William Heise shake hands in this early experimental film.