No. 14: Late Superimpositions (1965)

"My first film, THE PATH, was based on a dream about a group of people on an ‘outing’ or a picnic. The people in the dream meet and greet one another and then walk around and through old houses, barns, and buildings. Inside these structures they pass by other people involved in various activities. A woman is folding clothes. A man is making paintings. A young girl is sitting in front of a mirror trying on different necklaces." - Richard Myers

A documentary portrait shot in Positano, Italy in 1965 about Australian artist and occultist Vali Myers.

An experimental feature made by rephotographing the 1905 Biograph short Tom, Tom, the Piper's Son.

A poetic ode to the River Seine, Ivens' distinguished camera eye surveys its lively banks and step-stone canals with a vérité candor, a beguiling elan.

Filmed clandestinely in Czechoslovakia on 16mm. It's one of the films Godard made with the Groupe Dziga Vertov - a Marxist film about the political situation after the '68 revolution.

This story is built up with filmed documents in an experimental fashion.

This film tells the story of Gonthramm, a young knight who sought in vain for the Holy Grail and, on the way back to join his bride, Galeswithe, is met by Queen Banschi in the nightmarish realm of the Sylphs. Brum do Canto based the story on Charles-Marie Leconte de Lisle's Les Elfes.

I evoke a dancing woman. A woman? No. A bouncing line with harmonious rhythm. I evoke a luminous projection on veils ! Precise matter! No. Fluid rhythms. Why should one disregard, on screen, the pleasure that movement brings us in the theatre? Harmony of lines. Harmony of light. Lines, surfaces, volumes evolving directly, without the artifice of evocation, in the logic of its forms, dispossessed of any overly human sense, allowing an elevation towards the abstract, thus giving more space to sensations and to dreams : integral cinema. —Germaine Dulac

Eureka (1974), which lyrically re-photographs a travelogue shot from a San Francisco streetcar, offers the purest expression of Gehr’s deep love of early cinema as a source of a joyous formal inventiveness-- changing its length from 5 to about 38 minutes.

A send-up of Griffith's THE LONELY VILLA and other movies of that sort, such as THE GIRLS AND DADDY, THE LONEDALE OPERATOR and many others, as the heroine, thinking that burglars are trying to break into her home phones her husband at the office, who rushes home.... well, who tries to rush home in his chauffeur-driven automobile.

No information available regarding the film's director. Just under 10 minutes of over an hour's footage survive.

“Freud established that jokes were structurally akin to dreams in their use of condensation, displacement, representation by opposites, punning and ‘nonsense’. All of these strategies are much in evidence in (Land’s) marvelously duplicitous ON THE MARRIAGE BROKER JOKE… [...] so clever and original a filmmaker as to make most others – not to mention his critics – seem flat-footed by comparison. ON THE MARRIAGE BROKER JOKE harks back to Bunuel’s early work. Not only is it structured like a dream and filled with sexual imagery, but like Un Chien Andalou, it smacks of being an insider’s joke played upon the avant-garde. Where Bunuel used the insights of psychoanalysis to satirize Christianity, Land– with an almost equal perversity – reverses the process and uses Christianity to send up Freud.” – J. Hoberman, American Film

In honor of the cat, so named, and the goddess of all cats which she was named after. - CAT Film Festival

A short film by Stan Brakhage.

Experimental documentary film, set in the then-present day, about an impoverished, lost boy, living alone in the Bowery.

A righteous husband-and-wife swordfighting duo struggle to protect China from the machinations of Japanese pirates and corrupt officials.

Based on the true story of the enduring but troubled love between Lois Wilson, co-founder of Al-Anon, and her alcoholic husband Bill Wilson, co-founder of Alcoholics Anonymous.

This meditation takes its visual imperatives from the occasion of Mesa Verde.

When Mario, a bad boy, is released from prison, he plans to live honestly with his wife Geneviève. But the latter has not waited for him and Mario, out of spite, accepts to work as a tout for Mr. Charlie, the boss of a white slave trade gang. His first assignment consists in seducing Michèle, a Montmartre nightclub singer and hostess, into signing a contract for Tangier. The young woman, however, who does this job only to support her young sister Danièle, falls for him and he for her. From then on Mario, without betraying himself, does his utmost to save Michèle -and Danièle for that matter - from the clutches of the gang...