Swamp (1969)

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

Stop-motion photography blends with extreme slow-motion in Clair's first and most 'dada' film, composed of a series of zany, interconnected scenes. We witness a rooftop chess match between Marcel Duchamp and Man Ray, a hearse pulled by a camel (and chased by its pallbearers) and a dizzying roller coaster finale. A film of contradictions and agreements.

Two young men, one rich, one middle class, both in love with the same woman, become US Air Corps fighter pilots and, eventually, heroic flying aces during World War I. Devoted best friends, their mutual love of the girl eventually threatens their bond. Meanwhile, a hometown girl who's the lovestruck lifelong next door neighbor of one of them, pines away.

Lee, a former Western film icon, is living a comfortable existence lending his golden voice to advertisements and smoking weed. After receiving a lifetime achievement award and unexpected news, Lee reexamines his past, while a chance meeting with a sardonic comic has him looking to the future.

"...Nekes retreats behind his film. What is left is a double portrait, in which neither Dore 0. nor the grand landscape remain unchanged. The cold of the icy coastline - long shots of stones, snow and the sea - dwindles away before the image of Dore 0. Solitude is superflous, when the grandiose mountain meadow invites somersaults. ... In this case Nekes handles what he shows considerately. He releases the objects he portrays. He allows them to unfold. And so model and patterns actually serve another purpose: to let poetry grow, and energy and beauty and confidence nell'abbandono." (Dietrich Kuhlbrodt, Filmkritik, 9/1971).

A part of Werner Nekes' lyrical anthology DIWAN.

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

An attempt to transform a Roman Western into a Greek tragedy.

“The changing dots, ectoplasmic shapes and electronic music of L. Schwartz’s ‘Mutations’ which has been shot with the aid of computers and lasers, makes for an eye-catching view of the potentials of the new techniques.” – A. H. Weiler, N. Y. Times

Based on chilling real life events, this story charts one couple's terrifying real life encounter with the dark forces of the supernatural. In 1930, Reverend Lionel Foyster and his wife Marianne move into the Borley Rectory when Reverend Foyster is named rector of the parish. The couple's peaceful existence is soon shattered by a series of unexplained occurrences which quickly escalate into a heart stopping nightmare. Now Reverend Foyster and Marianne must discover the deadly secrets of the Rectory to avoid becoming another tragic footnote in the dark history of The Most Haunted House In England.

"His films are like a roller-coaster. His way of throwing the act of seeing into utter confusion is an attack on the eyes in their corporeal function, and to attack the eyes is to take on tile body itself as your opponent. The film makes you break out in sweat only by shooting a safe, peaceful gymnasium in the dark." - Koharu Kisaragi

Film in Which There Appear... is a six-minute loop of the double-printed image of a "China girl" or "Shirley card", her image off-center, making visible the sprocket holes and edge lettering on the film. According to Land, within the loop, "no development in the dramatic or musical sense" occurs. Fred Camper described Film in Which There Appear... as "a kind of Duchampian found object, a [...] film that focuses attention on the medium and the viewer."

Duras narrates a short story while the camera travels through the streets of Paris with short interludes of solemn music.

Short documentary of David Lynch building a lamp.

Two black bounty hunters ride into a small town out West in pursuit of an outlaw. They discover that the town has no sheriff, and soon take over that position, much against the will of the mostly white townsfolk.

ジョニーは、通常のネットワークに晒すことのできない機密情報を記録して運ぶ不正取引人である。彼は、脳に埋め込まれた記憶装置によって情報を運ぶことができるが、自身にもその内容が判らないように、複数のキーによって暗号化されている。 ある日、彼は装置の安全許容値を超える情報を運ぶことになる。それは、彼にとって想像を超える金銭的価値のある機密情報であり、全てのキーを使って時間内に取り出さなければ、彼の死を意味することにもなる。 そして、期限内に情報を運ばなければならない彼は、情報の持ち主である企業の殺し屋に追われる身となり、同時にキーの一部を奪われ、また別のキーを破壊される。

Viola's seminal piece, The Reflecting Pool, was made three decades ago on analogue video tape and yet could easily pass for a contemporary digital piece; in it, Viola emerges as central protagonist from a thick forest into a clearing filled by an artificial pool. As the noise of an aeroplane slowly passes and fades overhead, Viola approaches the edge of the pool, whereby he removes his shoes, squats down yelling and then prepares to make a powerful jump.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

米国のNSA（国家安全保障局）で働き、同じく情報機関のCIA（中央情報局）でも働いた当時29歳の男性スノーデンは、米政府が国民のプライバシーを侵害していることに憤り、2013年、“シチズンフォー”というハンドルネームを使ってドキュメンタリー監督ポイトラスと連絡を取り、自分が知っているすべてをカメラの前で語ると言い、ポイトラス監督とジャーナリストのグリーンウォルドは香港でスノーデンと面会する。

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.