Pas de Trois

Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.

Lars von Trier challenges his mentor, filmmaker Jørgen Leth, to remake Leth’s 1967 short film The Perfect Human five times, each with a different set of bizarre and challenging rules.

Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.

The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

An anthology of one-minute films created by 60 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

This collection of David Lynch's short films cover the first 29 years of his career. Each film is given a special introduction by the director himself. His earliest underground films Six Figures Getting Sick (1966), The Alphabet (1968), The Grandmother (1970) and The Amputee (1974) are showcased as well as two requisitioned works well into his successful career The Cowboy and the Frenchman (1988) and his addition for Lumière and Company (1995).

A film about friendship and the occasional loneliness.

A documentary portrait of Utopia, loosely framed by Plato’s invocation of the lost continent of Atlantis in 360 BC and its re-resurrection via a 1970s science fiction pulp novel.

Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.

In making this piece, Bourque literally distorted the personal home movie images appearing on the film plane through various manipulations in the process of doing her own low-tech contact printing. The point of contact in printing is continuously shifted so that the film plane appears warped and the images fluctuate, creating a distorted space of fleeting apparitions, like resurfacing memories.

An experimental film that lifts the veil on the world of African American drag racing.

WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.

This is an architectural garden of the variably brash rock-solid liquid-encompassing, but always imitative, human mind as it processes the given light thoughtfully. This film is about that.

An experimental ethnographic documentary that criticizes the colonizer view of anthropology.

An experimental and poetic portrait of a woman.

Chao-Li Chi shadow boxes indoors and practices with a sword outdoors. Theoretically, the film describes in a single continuous movement three degrees of traditional Chinese boxing, Wu-tang, Shao-lin, and Shao-lin with a sword. A long sequence of the ballet-like, sinuous Wu-tang becomes the more erratic Shao-lin; in the middle, there is an abrupt change to leaping sword movements, in the center of which, at the apogee of the leap, there is a long held freeze-frame.