Postscript (2012)

Ivan Ladislav hides a true chamber of wonders behind the clear, mathematically abstract structure of his films and videos, meticulously compiled rhythmically frame for frame, each work likewise presenting an analysis of the film medium. Concealed therein, culled from deep in the medium’s prehistory, are hermetic parallel universes in whose number ranges and symbolic spaces, Galeta’s precisely constructed film compositions find a formalist anchor.

The first part (winter) of a seasonal study of the Hudson river in New York.

"Moons Pool" is a masterful and lyrical use of the film medium to portray the search for identity and resolution of self. Photographed under water, live bodies are intercut with natural landscapes creating powerful mood changes and images surfaced from the unconscious." – Freude Bartlett

Adebar is the first of Peter Kubelka's 'metric films', in which every element of the composition is precisely ordered and in relation to the gestalt. The film is made up of single units---13, 26 and 52 frames long---which are subjected to a complex rule-system, including a strict use of positive and negative space, that determines their structure within the film.

An experimental film, the last in Peter Kubelka's trilogy of “metric films”. Each frame of Arnulf Rainer is composed of darkness or light and silence or sound.

In 1957, Peter Kubelka was hired to make a short commercial for Schwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers' perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern.

An impressionistic portrait of the iconic actor Harry Dean Stanton comprised of intimate moments, film clips from some of his 250 films and his renditions of American folk songs.

John, an ambitious but undisciplined New York City office worker, meets and marries Mary. They start a family, struggle to cope with marital stress, financial setbacks, and tragedy, all while lost amid the anonymous, pitiless throngs of the big city.

With exclusive access to his extraordinary unseen and unheard personal archive including hundreds of hours of audio recorded over the course of his life, this is the definitive Marlon Brando cinema documentary. Charting his exceptional career as an actor and his extraordinary life away from the stage and screen with Brando himself as your guide, the film will fully explore the complexities of the man by telling the story uniquely from Marlon's perspective, entirely in his own voice. No talking heads, no interviewees, just Brando on Brando and life.

When her boyfriend dumps Emily, a spontaneous woman in her 30s, she persuades her ultra-cautious mom to accompany her on a vacation to Ecuador. When these two very different women are trapped on this wild journey, their bond as mother and daughter is tested and strengthened while they attempt to navigate the jungle and escape.

The setting is a city block during a sweltering summer, where the residents serve as representatives of the not-very-idealized American melting pot. There is idle chitchat, gossip, jealousy, racism, adultery, and suddenly but not unexpectedly, a murder.

Rich old Cyrus West's relatives are waiting for him to die so they can inherit. But he stipulates that his will be read 20 years after his death. On the appointed day his expectant heirs arrive at his brooding mansion. The will is read and it turns out that Annabelle West, the only heir with his name left, inherits, if she is deemed sane. If she isn't, the money and some diamonds go to someone else, whose name is in a sealed envelope. Before he can reveal the identity of her successor to Annabelle, Mr. Crosby, the lawyer, disappears. The first in a series of mysterious events, some of which point to Annabelle in fact being unstable.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

A piano player is able to perform a Chopin piece backwards and Galeta will film it backwards and forwards creating four different variations of a movement bound to time.

Thirteen years after a dinner party in which the thirteenth guest failed to arrive, the remaining guests are being murdered one by one, and their bodies being placed at the same dinner table in the appropriate seats they occupied thirteen years prior.

Nazi propaganda film contrasting Germany in the days of the Weimar Republic with contemporary Germany under Adolf Hitler.

A film in which the one 60-story skyscraper that soars in the spaces between roofs spins with incredible speed. I centered the circumference with its 400 or 500 meter radius on the skyscraper and divided it into 48 sections, then took photographs from those spots and shot the photographs frame by frame.

A short experimental film dedicated to Polish artist Wacław Szpakowski (1883–1973).

Ancient of Days is a remarkable series of "canons and fugues for video" that comprises Viola's most sophisticated structural and metaphorical explorations of time. Mathematical notations of precise time-code editing were applied to construct illustrations of temporal symmetry, duality and transposition — time-based equivalents of musical compositional principles such as counterpoint and serialism. Astonishing temporal interventions — a 180-degree pan gazing downward on a New York City street that progresses from day to night, an image of Mount Rainier in which the foreground and background unfold in different time planes — unfold as symbolic transformations of natural and urban landscapes.

"The filming of the entrance to the company dormitory in which the film-maker was living. Centering the film on one pillar, he warps the spaces to the left and right and creates an unstable space similar to painting that employs anamorphosis. Made as were SPACY and BOX with a large number of photographs, the film ends with a violent movement, but is poetic for this." - Takashi Nakajima