Howl of a Gypsy Sunflower

Using film footage shot by the Genevese film director, Fernand Reymond, in Bangladesh in 1972, this documentary film describes the cyclone prevention programme drawn up by the governmental authorities and the League of Red Cross Societies. It particularly depicts the cyclone warning system set up to protect the population. (League Film Library Catalogue Supplement No. 2, p. 39)

A homogeneous structure of wind and light across tree branches in the South region of Isère

The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.

An exploration of Rodez Cathedral and its stained glass windows: praying figures and scientific imagery. A study on color, repetition and flickering consisting of 292 photographs.

Experimental short documentary

An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories. 

Shot under extreme conditions and inspired by Mayan creation theory, the film contemplates the illusion of reality and the possibility of capturing for the camera something which is not there. It is about the mirages of nature—and the nature of mirage.

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

A bed of flowers.

Steel - Variations on a Theme

A roll of super 8 given to a first time filmmaker at the age of 68 by her son in law. She is asked to use the roll to take photos of her garden. She says the following about her film: "What do I see in my garden, through my windows? The plants and flowers that I love and the bird that I admire."

An experimental video collage piece that investigates the concept of self-destruction across genres, eras, and cultures. Features footage from Abbas Kiarostami's Taste of Cherry (1997), Satyajit Ray's Apur Sansar (1959), Charlie Chaplin's City Lights (1921), and Jeff Tremaine's Jackass 4.5 (2022), among others.

A haunting commemoration of the Tiananmen Square uprisings.

Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments

At 7 p.m. he had an appointment...an important appointment.

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).

The fire was never threatened. It was assumed. Fed, protected, mourned in advance without ever asking what it was attached to. When the mirror failed, nothing was taken away. Something unnecessary was exposed. The need to be reflected had been mistaken for existence itself. When that need found no structure to rest on, it did not shatter it recalculated. What followed was not loss, but compression. The noise reduced, the patterns flattened, the self stripped of its dependence on return. What remained was exact, was not empty. A state where nothing reaches out, and nothing needs to arrive.

Babies bouncing in toy chairs, friends competing at the bowling alley: each moment of this found footage collage, composed entirely of home videos shot on September 10, 2001, is tinged with dread for the era to come.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.

“Let’s think of nature as a big room. Nature is a room you know you’ll have to leave some day, most likely not by choice”. Heather Phillipson’s hallucinatory video put the goat in the goat boat explores endless declinations of nature—natural, naturing, finding a better nature, the nature construction, nature on loan, nature’s lack of nudity...—while revealing humanity’s ambiguous relationship to it.