"This is a video for my generation. I'm Lucia Izmailova. And I can control time. See the future. I was eight years old when I dreamt of World War III. Even though my parents didn't believe me, I still love them very much. Their wedding anniversary is soon. And I'm preparing a surprise for them. Mom will cook a lot of tasty food. Dad, like always, will sing... And I will dance. They will see that I can..."
Grisha
Mother
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound, finds the personalities of his characters to have a timeless universality.
Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.
Miguel, a debutant director, and his young team live a series of tribulations during the shootings of their first film, which unrolls between Lisbon, Venice, Paris and Madrid.
Up against a deadline, a narcissistic screenwriter forces two of his worst critics to delete their reviews of his work at gunpoint.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.
On stormy night in an ugly urban landscape, Ciro Norte, a scientist with wild hair and thick glasses, straps himself to a chair he's has fashioned with wires: lightening strikes, convulsing him. It seems his experiment has not worked. The next day, he drives his jalopy to a bar, sits alone, and weeps. But suddenly, a vortex sucks him into a dream state where he wanders, escapes man-eating fish, confronts his doppelganger, walks through a field of giant flowers, and comes upon Venus herself, buried up to her shoulders in sand. She is a giant, and she takes him to her breast. He wakes from the vortex, back in the bar, his mood transformed.
This is the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, the movie has no plot to speak of and appears to have been largely made up on the spot. We follow the cat man into a bizarre fantasy universe presented in negative exposure that reverses color values (black is white and vice versa) and written words. The cat man steals a car and then picks up a young girl he promises to take to “Heaven.” Heaven turns out to be a country chateau inhabited by several more animal mask wearing weirdoes...
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
In this edition of Moulton's narrative series, the artist's character Cynthia suffers from Restless Leg Syndrome, and seeks relief in pharmaceutical ads on TV and in health magazines. In a domestic world enlivened with animated dance and mystic poetry (written and read by poet John Coletti), Cynthia finds relief in the healing mineral AION A, discovered by Swiss artist Emma Kunz.
SONG 5: A childbirth song (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).
SONG 9: Wedding source and substance (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).
SONG 13: A travel song of scenes and horizontals (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).
U.S. Ambassador Henry Morgenthau risks his job and his reputation by leaking memos to the New York Times and becoming the first whistleblower of the Armenian Genocide. (Based on "Ambassador Morgenthau's Story" by Henry Morgenthau)
In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies.
An ex-soldier encounters many dangers in the small town he lives in.
In 1992 the Universal Exhibition in Seville was held in Spain. Chile participated in this exhibition by displaying in its pavilion an ice floe captured and brought especially by sea from Antarctica. In these true facts is based the fantasy narrated in Dreams of Ice. Filmed between November 1991 and May 1992 on board the ships Galvarino, Aconcagua and Maullín, in a voyage that goes from Antarctica to Spain, in this documentary film in which dreams, myths and facts converge towards a poetic tale turned into a seafaring saga, in the manner of the legends of the seafarers that populate the mythology of the American continent and universal literature.
At the end of the 19th century, young Rosita and her cousin are engaged to be married, shortly before he has to leave for Cuba.
First part of the collaborative project "Brise-Glace" showing the diverse travels on the icebreaker "Frej". Directed by Jean Rouch.
A proto-music video: three minutes of experimental animation set to the tune of Romeo Nelson's 'Head Rag Hop'.
Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.