Yayoi Kusama: I Love Me (2008)

While visiting her sister in Paris, a young woman finds romance and learns her brother-in-law is a philanderer.

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

A Baltimore sandwich shop employee becomes an overnight sensation when photographs he's taken of his weird family become the latest rage in the art world. The young man is called "Pecker" because he pecks at his food like a bird.

A young and naive college art student becomes obsessed with assuming the identity and personality of a departed coed who used to live in her room, and in so doing causes complications that result in two men, a student and her art professor, lusting after her.

A young man is confined in a mental hospital. Through a flashback we see that he was traumatized as a child, when he and his family were circus performers. Back in the present, he escapes and rejoins his surviving and armless mother.

Hutton's most impressive work ... the filmmaker's style takes on an assertive edge that marks his maturity. The landscape has a majesty that serves to reflect the meditative interiority of the artist independent of any human presence. ... New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in NEW YORK PORTRAIT; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. With an eye for the ordinary, Hutton can point his camera toward the clouds finding flocks of birds, or turn back to the simple objects around his apartment struggling to elicit a personal intuition from their presence. ... Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. The city becomes a ghost town that the filmmaker transforms into a vehicle reflecting his personal mood.

Tim Jenison, a Texas based inventor, attempts to solve one of the greatest mysteries in all art: How did Dutch Master Johannes Vermeer manage to paint so photo-realistically 150 years before the invention of photography? Spanning a decade, Jenison's adventure takes him to Holland, on a pilgrimage to the North coast of Yorkshire to meet artista David Hockney, and eventually even to Buckingham Palace. The epic research project Jenison embarques on is as extraordinary as what he discovers.

A documentary of an avant-garde theatre performance, presents an orgiastic rite of sex, degradation, and bloody sacrifice, performed by Zero-Jigen.

2013年、東京・小金井。碧々とした緑に身を隠すようにして、国民的アニメーションスタジオの“スタジオジブリ”は存在している。 宮崎駿、彼の先輩であり師匠である高畑勲、そしてふたりの間を猛獣使いのごとく奔走するプロデューサー、鈴木敏夫。観客のみならず、世界の映画関係者やアニメーションの担い手たちにも多大な影響を与え続けてきたジブリの功績は、この天才たちによって紡がれ続けている。彼らの平均年齢は７１歳。「風の谷のナウシカ」制作よりはるか以前、今から５０年前に高畑と宮崎は出会い、鈴木が合流したのが３０数年前。かくも長期に亘り苦楽を共にしてきた彼らの愛憎、そして創作の現場として日本に残された最後の桃源郷“スタジオジブリ”の 夢と狂気に満ちた姿とは…。 最新作の「風立ちぬ」（宮崎駿監督）と「かぐや姫の物語」（高畑勲監督）を制作中のジブリに広がる光と影に満ちた日常を通じて、繊細な表情までを捉え、スタジオの“今”を映し出した、砂田麻美監督。前作で数々の新人監督賞を受賞した彼女が伸びやかに描く、唯一無二のスタジオジブリの新たな物語。

"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

"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)

A young man desperately seeks out the fleeting image of a female companion, and though he never quite catches her, he discovers much more through the surreal explorations of his own sexuality.

A lucid dream turned nightmarish reality. A ship sinking into a world of fear. A short film that’s mostly puppetry by one of America's most prolific twentieth century artists.

Visionary artist Matthew Barney returns to cinema with this 3-part epic, a radical reinvention of Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.

A surreal, experimental, minimalistic animated film that dives into the inner recesses of creativity, imagination, longing and inspiration. Taking place from the somber point of view of a young wizard as he lives out his day, watching over a little town. Le Geniaque pays homage to Georges Melies and 1920s silent films in general.

A short film where circus performers entertain children.

The Mona Lisa Curse is a Grierson award-winning polemic documentary by art critic Robert Hughes that examines how the world's most famous painting came to influence the art world. With his trademark style, Hughes explores how museums, the production of art and the way we experience it have radically changed in the last 50 years, telling the story of the rise of contemporary art and looking back over a life spent talking and writing about the art he loves, and loathes. In these postmodern days it has been said that there is no more passé a vocation than that of the professional art critic. Perceived as the gate keeper for opinions regarding art and culture, the art critic has supposedly been rendered obsolete by an ever expanding pluralism in the art world, where all practices and disciplines are purported to be equal and valid. Robert Hughes, however, is one art critic who has delivered a message that must not be ignored.

Superman's pal Jimmy Olsen gets his own story. Boy meets girl. Boy loses girl. Boy meets boy!

A voice occasionally says a word or two: "on the sidewalk" or "lithium" or a woman's name. A hand-held camera frames parts of sculptures, or moves across their surfaces, sometimes slowly, sometimes quickly, almost always in close-up. The soundtrack, in addition to the voice, is discordant music. Light and shadows are paramount. Sometimes the camera repeats up and down movements; once, a set of jump cuts brings an object closer. The music can be shrill in contrast to the sculptures. Almost entirely of wood, they are the work of Isamu Noguchi (1904-1988): Abstract, usually smooth and rounded (but not always).

The Michael Clark Dance Group perform to the music of T.Rex, Chopin, the Beatles and the Velvet Underground.