All Star Video

The night before her eighteenth birthday recital, an overworked and undertalented pianist is abducted by three ghouls.

A psychedelic essay on Goya's paintings, image and sound. The stippled ceiling acts as noise in the images.

"I envy the Japanese" Van Gogh wrote to his brother Theo. In the exhibition on which this film is based - VAN GOGH & JAPAN at the Van Gogh Museum in Amsterdam - one can see why. Though Vincent van Gogh never visited Japan it is the country that had the most profound influence on him and his art. One cannot understand Van Gogh without understanding how Japanese art arrived in Paris in the middle of the 19th century and the profound impact it had on artists like Monet, Degas and, above all, Van Gogh. The film travels not only to France and the Netherlands but also to Japan to further explore the remarkable heritage that so affected Van Gogh and made him the artist we know of today.

"Labyrinth" is a groundbreaking multi-screen 45-minute presentation produced for Chamber III of the Labyrinth at Expo 67 in Montreal, using 35 mm and 70 mm film projected simultaneously on multiple screens. A film without commentary in which multiple images, sometimes complementary, sometimes contrasting, draw the viewer through the different stages of a labyrinth. The tone of the film moves from great joy to wrenching sorrow; from stark simplicity to ceremonial pomp. It is life as it is lived by the people of the world, each one, as the film suggests, in a personal labyrinth. Re-released in 1979 as "In the Labyrinth" by the National Film Board of Canada in a 21-minute single projection format.

Metamorfosi is a veritable dance ballet on the rocks, performed by a great climber, Patrick Berhault, set on the picturesque French Riviera and the Lingurian coast. Berhault's movements, in the sea, in caves, on rocks and precipices, are extremely difficult but are above all executed to give the movement an aesthetic value. Matemorfosi is the story of a cycle without words, told with gestures and music. Climber Monica Dalmasso also participates in the film.

This free-form film is a self-portrait, which revisits more than 40 years of the author’s filmography and questions the major stations of his life, while capturing the political tremors of the time.

Recuerdos de Extremadura is a film essay about memory and the act of filming, where reality and fiction mingle in a sea of memories. In 2018, the director attempted to shoot his first film, The Third Woman, in Cáceres, with his friend Amanda Toro as the main character. However, the project remained unfinished. Years later, this experimental medium-length film returns to those images, confronting the filmed material with the distance of the present. What emerges is a reflection on cinema and memories, on cinema as trace and absence.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

The link between body and mind is portrayed in the context of materialism; the importance of physical objects to express personal identity in the tangible world. Four categories are shown in the full installation that supported this film; everyday objects, clothing, makeup, and creations in the form of visual art. These form the pillars of self-expression, through which the soul can be made visible. This experimental film shows the union of the mind built from complex identity structures and memories, with the material extensions that hold this enormous value, becoming important to an individual's personal existence. Inspirations from several film and photo works, notably "All About Lily Chou-Chou" (Iwai), "The Rocky Horror Picture Show" (Sharman) and Ana Mendieta are incorporated throughout the video and accompanying photo installation.

Themes of death, rebirth and mythology combine in this compilation of the subversive and surreal experimental films "Begotten", "Din of Celestial Birds" and "Polia & Blastema."

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

A further mutation of 02.0, pushing its degradation even further. Through repeated data moshing, the original distortions are stretched, broken, and reshaped into something new. Artifacts accumulate, colors bleed, and the footage collapses into an evolving cascade of digital decay—an echo of its former self, yet entirely transformed.

A shift in both format and fragmentation. While previous interludes thrived within the constraints of 4:3, this iteration expands into 16:9—widening the frame but not the control. The extra space becomes a new playground for glitches, distortions, and compression artifacts, stretching and warping in unexpected ways. A continued exploration of digital decay, now with a broader canvas.

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?

An exploration of fluidity in both motion and corruption. Water, ever-shifting and formless, becomes the guiding concept—its movement echoed in the distortion of the image. Glitches ripple and flow like liquid, blending destruction with an organic, almost natural rhythm. For the first time in the Interludes series, sound emerges: the steady stream of water from a sink, grounding the chaos in something tangible, yet equally transient.

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

"Film shot on the 'bench' from hundreds of photos, buildings, streets, towns unusually colorful for a North Mediterranean eye. The editing was composed on a score because the shots are generally very short, up to two images, and they do not follow each other "cut" or crossed but in "racket". The progression of shots varies from faintly colored recognizable to strongly colored unrecognizable. The soundtrack is composed of Arabic music that gradually turns into free-jazz. » Mannheim Festival, 1973

Milk pours from a plastic container into a woman's mouth. The woman swallows it, dribbles it back at the container, and spits it out.