Stairs, Tunnels and Mirrors

You Take Care Now, an early student film, is a perfect exemplar of Ann Marie Fleming's idiosyncratic vision and stands as one of her signature works. Made on 16mm, and incorporating found footage, original material, animation, and processed images (Vancouver's groundbreaking avant-garde cinema of the 1970s is a decided influence here), Fleming's film offers a visually dazzling, emotionally wrenching, oddly humorous account of two profound personal traumas.

A nostalgic exploration, comprising fragments of reworked 9.5mm home movie footage. The deterioration of the original film, like memories, contributes to the film’s meaning.

UUFO consists of 6 short chapters/stories. Each describes a memory. Dealing with conflicting interpretations of China from the 1960s onwards, UUFO contrasts past generations’ stories with contemporary perceptions. UUFO stands for Universal Unidentified Flying Object.

This is a surrealistic documentary with a strong format which is based on the point of view of author. Tan can't fall in sleep in the night, is that because too noisy in the world, or it's just her thoughts bothering herself? It seems life itself it's a mixture with the reality and the dreams.

'Studie IV' (1955) by Peter Weiss portrays a liberation process. The main character moves between different rooms, rooms of significance for him, dragging something that constantly changes form but eventually turns out to be himself. It is an old and consumed I that disappears from him.

Maria Lang is my very close filmmaker friend who lives in the southern german countryside. We see her gardening and visiting an exhibition of female impressionist painters.

Intermittent Delight juxtaposes close-ups of batik textiles, fashion and design from the 1950s and 1960s, images of men weaving and women sewing in Ghana, and fragments of a Westinghouse 1960s commercial- aimed to instruct women on the how-to of refrigerator decoration.

Ripples uses images cut together to visualize the mind's eye of an architect as he considers his next project.

Three teenagers from the industrial part of Los Angeles try to form a punk rock band in Hollywood, in this feature length film by renowned artist Raymond Pettibon.

People are punished not for their sins, but by their sins and this is the most severe and proper punishment.

A very personal interpretation, to say the least, of the passion of the Christ According to St. John.

Director of this movie gave an advertisement in many Yugoslav papers calling everybody who wants to act in movie regardless of age, look or profession to reply. From 7000 arrived letters, about 30 heroes were picked up for the movie and its story was made based on what they wished to play.

Based on the poem "I Will Love the 21st Century" by Mark Strand

Shadows and sounds of bodies intersect to get away from the present.

The boxes for the return into her home country are packed and stand around her bed since years. But will she ever know again, if it’s day or night, if she’s awake or asleep, if she’s breaking out or just running into a trap?

"Caelum mergens sidera" Sound and visual experience around duality. "Immersio" evokes the light / dark, the conscious and the unconscious, the confusion of meaning in a chaotic world and the finitude of being.

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

An Anders Weberg Short Film. Part of his Peer to Peer project

A bowl of blueberries in milk, changing light radiant on the berries and on the glazed bowl, the ever more radiant orb of milk transforming into glowing light itself, with a brief shadow coda answering the complex play of shadows. The regular pulses of light framing the looser rhythmus of the spoon, itself a frame. A charging of each of the frame's edges with its own particular energy. Within and without, whites and blues, lines and curves. The pulses of vision, the simple natural processes, lift the spirit.

A fixed camera companion to FOG LINE. Bright green leaves stripped from ears of corn, and later, the vibrant yellow ears placed steaming in the waiting bowl. Each of these actions inaugurates a period in which one contemplates an image whose steady transformation is barely perceptible–the delicate slow movement of light and shadow, the evolution of subtle steam into the film grain. A meditation on the fragile moments of corn's passage from living sun-nourished plant to food to light image. The mind attempts to grasp duration itself, to distinguish its own creating from its perceiving, but distictions blur in the wholeness of times's and consciousness' flow.