log 2

Two friends walk and draw circles. It is what it is, idizwadidiz, c’est ce que c’est, seskecé. Nice weather.

The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.

Creeping from the halls of the maze brain, corruption and terror is woven by devils born from the denied errors of mankind.

A faceless protagonist witnesses the alienation of gentrification as his home is overtaken by development. the forces behind it are demanding him to leave, but also consequently push him further and further into his not-home.

Based on D.H. Lawrence's "Lady Chatterley's Lover" and one of the pioneering films of the Iranian New Wave

“Convalescing, when you don't have to participate in the world. Time to read, to dream, to look - the blue, the light of the television, the blue, the book, the patterns the light, the blue. Time to appreciate how much that really is.”

A rhythmical montage made from old photographs and films in which past and present merge.

Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.

A wordless experimental collage of impressions and moods. Grainy fragments of landscapes, flakes whirl in the wind. Fog and mist, shadows of people in the city and by the water… Silhouettes that fade and turn into pure light and shadow until we discern the specks and scratches on the film strip itself. Sometimes, for a fraction of a second, a face, a person. A film as a memory that eludes us.

Barbara Meter's first experimental film. From outside, the handheld camera surreptitiously peers at life in the living rooms of nocturnal Amsterdam. Shots of lamp shades, plants, chairs, faces and pets. A poodle stares out of the window.

A man and a woman converse wordlessly. An essential film dialogue. The accompanying sound was created by playing a chord from a Mahler symphony through two 'reel-to-reel' tape recorders and editing it.

The film takes us through the working day of protagonists, factory workers. Their basic working tool is their body, ready to execute strenuous manual tasks. Day after day the same story, the same faces, the same spaces, the same tasks. Feeling confined, they seek a sheet anchor, a way out, an escape. They venture into the unknown, dance, drift and float in the air.

An abstract work featuring three dancers, the performers interact with large screens as well as each other. Included in Shirley Clarke’s Four Journeys Into Mystic Time, costuming and color play an integral role in this piece.

Something takes us underground, where gods and monsters are active, amid the ruins of a world they move around with their innumerable hands. Inspired by Fritz Lang and Richard Wagner, Remains is a daydream.

Dislocation in time, time signatures, time as a philosophical concept, and slavery to time are some of the themes touched upon in this 9-minute experimental film, which was written, directed, and produced by Jim Henson. Screened for the first time at the Museum of Modern Art in May of 1965, "Time Piece" enjoyed an eighteen-month run at one Manhattan movie theater and was nominated for an Academy Award for Outstanding Short Subject.

A man marked by an ambiguous though discernibly violent past returns to the scene of a ghastly crime he committed years prior, only to find that his perception of the events which transpired has been obscured by the festering delirium and guilt that accompanied them.

A man at the feet of a seated woman, who looks like a big doll, licking her whole body.

Sitting on the floor in a narrow room, a man coughing and spitting blood.

At the beaches of Aracaju(Brazil), popsicle sellers believe in the myth of a girl dressed in white called Eva Maria.

The series’ latest Harald Vogl feature (from 1984) completes the filmmaker’s gradual movement away from narrative toward a vérité-style essay film. Gone are the post-punk streets of the East Village, replaced with on-the-ground footage of antiwar protests and visitors to the Vietnam Memorial in Washington DC, and observational scenes of union parades, marching bands, street dancers, and Chinatown residents back in Manhattan.