In continuo

A film of and through the trees. Leaves catch, consume and resist the light through the seasons.

A young adult's first-hand account of "accidentally becoming human again" after, and with, trauma induced depression. Lo-fi, vulnerable, and uniquely youthful, "The Afterlife" is a melancholic affirmation of life after death.

Frank Zappa: A Token of his Extreme is the 1974 television special recorded at Kcet in Hollywood that was produced by Zappa and aired only in France and Switzerland. The program, as thoroughly tweezed and produced by Zappa for his own Honker Home Video label, includes the following musical performances by Zappa and his band: T”he Dog Breath Variations/ Uncle Meat,” “Montana,” “Florentine Pogen,” “Stink-Foot,” “Pygmy Twylyte,” “Room Service,” “Inca Roads,” “Oh No,” Son of Orange County,” “More Trouble Every Day” and “A Token of My Extreme.” In the words of Zappa himself as he said it on The Mike Douglas Show in 1976, “This is put together with my own money and my own time and it’s been offered to television networks and to syndication and it has been steadfastly rejected by the American television industry.

A portrait of a recently vacated home, the film evokes both memory and the lingering presence of past inhabitants. Through precise, enigmatic sound–image construction, Beavers crafts an intimate meditation on art, existence, and the search for meaning.

Africa. In the wild expanses, where bush-bucks, impalas, zebras, gnus and other creatures graze by the thousands, they are on holiday. German and Austrian hunting tourists drive through the bush, lie in wait, stalk their prey. They shoot, sob with excitement and pose before the animals they have bagged. A vacation movie about killing, a movie about human nature.

An avant-garde meditation on obsolete technology. The film is of a 1930s Rheinmetall typewriter owned by the director. The film itself is projected by a 1960s-era Victoria 8 projector. This exhibit was displayed at the Museum of Modern Art.

In the Russian Empire of the 1910s, a group of visionary painters revolutionized the aesthetic norms of their time and opted for radical abstraction. In the years between the seizure of power by the Russian Bolsheviks and Stalinism in the 1930s, the avant-gardists developed a new form of art that ushered in modernism.

An avant-garde film presented as part of an exhibit at the Museum of Modern Art. From MoMA's catalog: "For the monumental installation Play Dead; Real Time, (director Douglas) Gordon arranged for a circus elephant to be transported to Gagosian Gallery, in New York City, where he filmed it obeying a series of commands (repeatedly lying down and then awkwardly struggling to rise). Like many of Gordon's protagonists, the elephant is subject to greater forces, beyond its controL Simultaneously presenting several different versions of the scene, in front and rear projections and on a monitor, the work depicts the event from a range of perspectives rather than from a single static viewpoint."

The fourth in a series of feature-length documentaries about Progressive rock written and directed by Adele Schmidt and José Zegarra Holder. Krautrock, Part 1 focuses on German progressive rock, popularly known as Krautrock, from in and around the Cologne, Düsseldorf, and Hamburg regions of Germany. Artist featured include Kraftwerk, Neu, Can, Faust and others.

Zdenek Pešánek created the first public kinetic sculpture, for the power station in Prague. This short experimental film focuses on a kinetic sculpture by Zdenek Pešánek. For a period of eight years it issued beams of light from the outside wall of a transformer station at Prague’s power utility before its destruction in 1939. Though genuine, these shots seem abstract to us. They are a rhythmically assembled ode to the light-creating devices and phenomena of electricity. Light arcs, coils, bulbs and various luminous elements support the alternation of positive and negative film images, creating an impressive universe of light and shade. In the 1920s, Pešánek had obtained financial support for his work with electric kinetic light art. In the 1930s, he was the first sculptor to use neon lights. He built several kinetic light pianos, and published a book titled “Kinetismus” in 1941. —http://www.centerforvisualmusic.org

After the electricity went off, many eyes grew from the playground.

Frank Scheffer's (collage like) documentary on the American composer and rock guitarist Frank Zappa, as broadcast by VPRO in the Netherlands April 22,2007. Most of what’s on here is seen before, particularly in Roelof Kier’s 1971 documentary and/or Scheffer’s own documentary “A present day composer refuses to die”. But there is some new stuff too, particularly interviews with Denny Walley, Haskell Wekler, Elliot Ingber and Bruce Fowler.

While Trevor and Sam are smoking pot, Trevor’s mom comes home. When she finds out, Trevor reveals his father’s adulterous ways and destroys his family.

A poetic journey from the darkness of dawn into the brightness of the midday sun in the American South. Filmed over the course of six months on one bus route in Durham, North Carolina, this film is a celebration of light and a meditation on leaving.

The Futurist is a condensed experience of film viewing, a single 360 degree animated shot in an empty 1920’s cinema where the sound becomes a cacophony of past projections and the aural experience is closer to that of the projectionist than the audience.

A recollection of almost 40 years of career. A giant image-jukebox, from early 70s autoportrait to films for Alain Bashung / Elli Medeiros, private karaokes to “video sculptures” applied to John Travolta or Maria Callas, and much much more…

Common Mistakes uses four synonyms for the word "mistake" (fallacy, error, accident, and blunder) to present a sample of widely held "truths" that later proved to be misconceptions. The mistakes are illustrated with documentary, before and after photographs, diagrams, and video footage, and are prefaced with a clip from a children's educational film on how to prevent accidents.

Feature-length documentary examining the growth of the UK Counterculture in the mid-1960s, and Paul McCartney's involvement with this movement, which had a significant impact on the Beatles' music and their evolution during the latter half of the decade.

An experiment with three dimensions in a moment of clarity: the focus of the camera's lens towards the present, the speed of the train and the material world distorted by the movements of the train.

An abstract perspective into two young South African workers in the heart of Johannesburg's industrial sector during Covid-19