Six Boxes (Single Sequence)

Adachi's follow-up to Bowl using the figure of a woman suffering from an unusual sexual aliment has often been taken as a controversial allegory for the political stalemate of the Leftist student movement after their impressive wave of massive fiery protests failed to defeat the neo-imperialist Japan-US Security Treaty. The ritualistic solemnity of the charged sexual scenes contribute to the oneiric qualities of Closed Vagina which Adachi would later insist was an open work, not meant to deliver any kind of deliberate political message. - Harvard Film Archive

The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. This Is Not a Dream explores the legacies of this revolution and its continued impact on contemporary art and performance. Charting a path across four decades of avant-garde experiment and radical escapism, This Is Not a Dream traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

Welcome to the temple of fear and eroticism, as a monstrous madman slowly mutilates poor young girls! See the sensual act of voodoo performed on an innocent bar patron! View the lustful bite of a vampire!

To fly a – way from/out of death, don’t hire a taxidermist but take a ride in this taxidrome! Series of 41 Moving Images - this analogy is possible being conservation at its core rescuing what really matters in the world, like nature, habitats, science and art. It is vital. Yet in a continuously changing environment, the flipside of conservation becomes and here it is where the vital feature of conservation becomes its lifelike trait, a fictive life, a fake life. The embalming process consists of 1) imparting a balmy essence to the dead body, as in the ancient world, 2) by filling its blood vessels with formaldehyde to prevent putrification, as in the modern world, although recently with more regard towards more natural treatments, as for instance in bio-art. To embalm also means to “preserve from oblivion”, and “to cause to remain unchanged”, “to prevent the development of something”.

A film in which the one 60-story skyscraper that soars in the spaces between roofs spins with incredible speed. I centered the circumference with its 400 or 500 meter radius on the skyscraper and divided it into 48 sections, then took photographs from those spots and shot the photographs frame by frame.

As a major storm strikes Texas in 1900, a mysterious televisual device is built and tested. Blake Williams’ experimental 3D sci-fi film immerses us in the aftermath of the Galveston disaster to fashion a haunting treatise on technology, cinema, and the medium’s future.

The inner world of the great painter Max Ernst is the subject of this film. One of the principal founders of Surrealism, Max Ernst explores the nature of materials and the emotional significance of shapes to combine with his collages and netherworld canvases. The director and Ernst together use the film creatively as a medium to explain the artist's own development.

An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities

You're waiting,aren't you?

A girl who was floating freely in the water accidentally gets her skin cut by a sailboat passing by. The story is derived from personal experience, recreating the senses of women in love and the unique inner sense of time through creation.

A bunch of spectators trapped in a cinema theatre.

Thanks to his myriad film roles, Lon Chaney is known as “the man of a thousand faces,” and you could say that the early horror era never beheld a figure more intriguing. Yet because of his numerous transformations, his face never became as iconic as that of, say, Boris Karloff. Accompanied by a soundtrack from Bernhard Lang, this “re-imagination of shots” taken from Chaney´s forty-six surviving films offers a beguiling excursion into the history of film. The director reveals surprising associations, while highlighting the enduring magic of works which are now more or less forgotten.

A collaboration between filmmaker Ayoka Chenzira and performance artist Thomas Pinnock, who performs his "immigrant folktales" using traditional lore of his native Jamaica to dramatize his migration to New York in the 60's.

This hand-painted step-printed film begins in a field of white light slightly bespeckled with ephemeral glazes of flecks of silver which gradually give way to pale suggestions of pastel colors. These take shape occasionally and flicker the forthcoming bits of solid colored and multiply formed abstract images, a few brief sequences-of-such intersperced with the cloud-suggestive silvered passages as at beginning, which eventually end the film.

Dubbings, stunts, remixes, aesthetic covers. Diffuse, decentralized, peripheral, tipsy. Theme: an extemporaneous choreographic chanchada. Content: artistic nudity, discrete zoophilia and dance.

A mockumentary following an ambitious TV network executive trying to produce a controversial reality show where contestants play Russian Roulette.

Experimental film by Toshio Matsumoto created for the 1970 world's fair, Expo '70 in Osaka. The film was made up of multiple projections onto the inside of the Textile Pavilion, a dome with an interior designed by Yokoo Tadanori, and featured a 57-channel music score by Joji Yuasa.

Director Lam Can-Zhao leads a small film crew as they shoot a film about a stray dog in the streets of Guangzhou, leading viewers into an unpredictable, peculiar and incredible journey.

Part of the larger filmic Four Journeys Into Mystic Time, in this work director Shirley Clarke makes use of a dancer’s body not only as the primary performer, but also as a canvas on which to paint projected images. Further enhanced by editing and effective use of shadows, the film is a transformative experience.