Mad About Being Mad

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

The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.

On the Various Nature of Things

Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.

Don't ask me why, but I feel we're about to cry trying.

Say Om as you reach home only to realize you never really left/stopped saying Om.

Champán para todos

Tales of old springing forth underlying dissatisfaction with current states of being.

In a village of Cuba devastated after trying to imitate the north american suburb model, a sound recorder tries to tape sounds for an incoming blockbuster about a giant monster that destroys a whole town.

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Cinema and painting establish a fluid dialogue and begins with introspection in the themes and forms of the plastic work of a woman tormented by the elongated specters, originating from her obsessions and nightmares.

Rosso Fiorentino's painting "The Deposition of the Cross" comes to life. The Christ is gradually removed from his cross by the biblical characters who surround him.

This film describes a psychological state "kin to moonstruck, its images emblems (not quite symbols) of suspension-of-self within consciousness and then that feeling of falling away from conscious thought. The film can only be said to describe or be emblematic of this state because I cannot imagine symbolizing or otherwise representing an equivalent of thoughtlessness itself. Thus the actors in the film, Jane Brakhage, Tom and Gloria Bartek, Williams Burroughs, Allen Ginsberg, Peter Olovsky and Phillip Whalen are figments of this 'Thought-Fallen Process', as are their images in the film to find themselves being photographed."

Lucien Bull was a pioneer in chronophotography. Chronophotography is defined as "a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion."

Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings.

Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

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.

"The filming of the entrance to the company dormitory in which the film-maker was living. Centering the film on one pillar, he warps the spaces to the left and right and creates an unstable space similar to painting that employs anamorphosis. Made as were SPACY and BOX with a large number of photographs, the film ends with a violent movement, but is poetic for this." - Takashi Nakajima

I turned my gaze to the various events in daily life and made this filmic diary in a manner as if confessing my feelings. Of course, since I was making the film, I wanted to depict these feelings and events with tricky techniques. I used various methods to shoot photographs of a relative's wedding, the landscape I see from window of my house, commemorative travel photographs and the like frame-by-frame.

A Japanese salaryman finds his body transforming into a weapon through sheer rage after his son is kidnapped by a gang of violent thugs.