A deconstruction of Dog Star Man that takes the four rolls and shows them first combined, then each combination of three rolls, then each combination of two rolls, then each individual roll. The plot is of a man who goes up a mountain with a dog to chop down a tree but has some unspecified transcendental experience while he is there.
The Art of Vision
1965
7
A dark and visceral journey. A language that tears apart the morbid nature of the dead-old primal human eyes. No warning was given. No mercy was shown.
Howl of a Gypsy Sunflower
2018
0
Vertical Features Remake is a film by Peter Greenaway. It portrays the work of a fictional Institute of Reclamation and Restoration as they attempt to assemble raw footage taken by ornithologist Tulse Luper into a short film, in accordance with his notes and structuralist film theory. The footage consists mostly of vertical landscape features, such as trees and posts, shot in the English landscape.
Vertical Features Remake
1978
7
Ofrenda
1978
6
Footage yarn sliding over trees, fields, buildings, bulldozers, power lines... while a monotonous hum exacerbates the images.
Y las chimeneas decidieron escapar
2006
0
A group of friends share a cinematographical experience in a particular region of Spain, Galicia. The goal is simple: to film what they like, without preconceived ideas about what should be filmed. They want their images to reflect the feelings that unite them with the people they find along the way.
París #1
2008
0
Your Ecstatic Self is a conversation unfolding in a car with Sajid, the artist’s brother. As the journey progresses Sajid discusses his engagement with the philosophy and practice of Tantra, having spent the majority of his 44 years as a strict Sunni Pakistani Muslim. Placing the idiosyncrasies of western fetishism towards eastern philosophical traditions alongside cultural orthodoxies and ancestral knowledge, Your Ecstatic Self takes up multifaceted expressions of desire, intimacy and sexual agency.
Your Ecstatic Self
2020
0
Acting as part ode and through a series of interpretations, Claudette’s Star depicts young artists considering with sheer wonder who is given a voice.
Claudette's Star
2019
4
Ablaze
2016
0
Originality in a time of poorly made copies, a filmic inventory of a strange time, a kaleidoscope of images, in a constant game of ruptures and continuities. All this from 365 videos published on an Instagram page in 2018, added to an original soundtrack and a text adapted from Dürrenmatt's play Dialogue of a Vile Man, a text that synthesizes our time well.
Filmefilia – Um Fax para Godard
2019
0
In his first film, Peter Nestler gives voice to an old floodgate. A nearby village, its inhabitants, wooden posts and twisted willow rods are presented from this unusual perspective. The floodgate ponders the fisher boats coming home from the sea along the shipping channel which is fed at low tide by a small river.
Am Siel
1963
5
From both a scientific and an artistic point of view, the film seeks to answer the question, 'what is light?'.
Lys
1991
0
Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments
Nuestra Señora de Paris
1982
5
In fifteen shots, all but one running for 90 seconds, the audio-visual landscapes of a video game are examined as its day-night cycle mimics passing time, and the radiant AI of its characters creates the illusion of free will.
Fourth Era
2018
7
A docudrama about art and creativity; based on modern art gallery in Tehran and its founder Jazeh Tabatabai.
کوچه پاییز
1997
9
Chris Gallagher’s feature-length film essay Time Being is an elegant and thought-provoking investigation of the nature and experience of time, and its filmic representation. 88 one-minute shots or shot-sequences counterpoint a spoken commentary that probes and questions the subject from many different angles – psychological, philosophical, mechanical, cosmological, artistic. Equally, Gallagher combines aspects of different cinemas – documentary, structural, poetic, narrative, and personal – skillfully interweaving all the elements into a complex yet coherent and surprisingly moving statement on the human condition. The most brilliant film on its subject I’ve ever seen, Time Being is cool and non-academic yet deeply engaged, and beautifully shot. An educational film in the best sense. —Tony Reif
Time Being
2009
0
The film is an insight into a teacher's soul and a contemplation upon his teaching fate. This portrait of a unique, experimental filmmaker and teacher Martin Čihák takes a look at his teaching methods, his meetings with his students at FAMU and at a park where they work with film, or in his studio.
Ponorná řeka didaktiky
2012
0
This film uses the image of fireworks (as points of light) superimposed in the camera and in the optical printer until the surface of the film begins to bleach out.
Fireworks
1976
0
The film juxtaposes/compares two museums: The Museum of Art, Ein Harod, Israel, which Samuel Bickels (1909-1975) built there in 1948, and The Menil Collection in Houston, Texas, built by Renzo Piano (b. 1937) 1986 . The method of natural lighting in Bickels‘s construction was the direct model for Piano, who adopted for his construction at the request of its patroness Dominique de Menil.
Zwei Museen
2014
5
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
C-Film
1970
6