He Stands in a Desert Counting the Seconds of His Life

As Janelas Me Diziam Que Os Carros Cor De Lembrança Ainda Percorriam as Movimentadas Ruas do Esquecimento

Filmmaker Jonas Mekas films 160 underground film people over four decades.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Made over six years in the hotels of six different countries, Hotel Diaries charts the 'War on Terror' era of Bush and Blair through a seven-part series of video recordings that relate personal experiences to the ongoing conflicts in Afghanistan, Iraq and Israel/Palestine. In these works, which play upon chance and coincidence, hotel rooms are employed as 'found' film sets, where architecture, furnishing and decoration become the means by which the filmmaker’s small adventures are linked to major world events.

Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.

An epic portrait of the New York avant-garde art scene of the 60s.

A short documentary by Jim McBride.

I wasn’t told. I wasn’t told it would be so difficult to live together. To keep a family together. To maintain love and happiness. I wasn’t told, and if someone had told me I wouldn’t have listened. I chose to live with my camera in my hand, filming the trajectory of feelings, from the golden age to the lost paradise, from being born to being reborn.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

On January 1st, 1999, Caveh Zahedi started a one-year video diary. The idea was to shoot one minute each day. This is the result.

An old man comes across a fascinating archive, then meets a woman who introduces him to the life of a banker, patron and philanthropist. A moving essay that is part documentary, part film diary.

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

This short, started early on into sobriety, finished about nine months in, is a collage of diaries and notes, collected from within addiction and into recovery.

Reminiscences of a trip to Čáslav

A woman walks, loves, eats and washes herself, dances. It all takes place in a bedroom. At times flashbacks, or visualizations of previous or following scenes. Unless her life in the bedroom becomes an obsession, she lives through the other scenes.

The untold state of mind dealing with an incurable disease. One is wondering if there's still a dream to achieve in life. One is running as if this free spirit of mine has never been taken away.

A filmed diary which chronicles two visits to the Olivas, a family of Spanish beekeepers from Salamanca, at the time of the honey harvest, in August and September. Their work and their itinerant life are seen from a friend's point of view.

The director goes to the city of Cuenca in Spain, Castilla-La Mancha for Erasmus. In this process, he records his experiences, days, and trips with a digital handheld camera and Super 8mm. A visual diary of the director is documented by witnessing the 2022 spring period in Spain and Portugal with images.

It compiles more than twenty years of passionately recorded “pictures from life” captured on super 8, that Vukica Djilas shot from 1970 to late 1990s.