Ingénue (2019)

Self fashion show.

A BFI production from 1964, directed by David Gladwell, who is best known as an editor of films like Lindsay Anderson's If.... (1968) and O Lucky Man! (1973). This short was shot at 200 fps, depicting a series of pastoral scenes from a British farm, edited to produce a suggestion of violence in contrast to its visual beauty.

"Presenting, for the first time, a selection of the cathodic experimental works from the seminal Italo-American artist Aldo Tambellini; a selection of classic documents of one of the first pioneers of video art and audiovisual experimentation from New York east side scene of the 60s and 70s. Unreleased and classic works available for the first time. Curated by Pia Bolognesi e Giulio Bursi." -Black Video 1 -Black Video 2 -Black Spiral -Black Video 1 Projections -6673 -Minus One -Clone -Interview at the Black Gate Theatre

Four minutes of heavily cut-up sound and vision with collage, animation and multiple exposures throughout.

A young doctor gets stuck on a ship after treating an injured first mate. Later, he rescues a woman from plane wreckage, and with the help of the cook, he hides her away from the rowdy and dangerous crew.

The film follows a young man who hits rock bottom after suspecting his best friend may be responsible for his failed relationship. But when a mysterious incident rocks the downtown core, they are forced to put differences aside in order to survive the night.

Three alien beings - a Sontaran officer, a Draconian nobleman and a Human mercenary - find themselves transported to a remote asteroid by a mysterious alien who wants to test their worthiness for his race's masterplan

Intended as a call to action, this UNICEF-sponsored film juxtaposes the fears experienced by children around the world as a means of awakening audiences to the struggles seen abroad.

On December 20, 2012, the eve of what may be the end of the world, Stacey decides he wants to see his ex-girlfriend, Parker. Though not entirely convinced of impending doom, Stacey convinces Parker to embrace the notion that this might be the end, and she agrees to spend the day with him, making sure to fit as much into these final moments as possible. Stacey and Parker bump into old friends and fall into old patterns, all the while struggling to embrace the present and not focus on the past.

Horror fan short by director Wim Vink, that works with just a little dialogue and mostly with eerie atmosphere, set in a small Dutch town. A bit of Argento, mainly by using some of Goblin´s music as well as some Fabio Frizzi compositions, mixed with a bit of Romero´s undead, this is about some cult who unleash an evil spirit that starts attacking people, in the shape of zombie-like creatures, when it all turns out to end as a weird version of the beginning from "Dawn Of The Dead".

A young couple accept an offer for $2 million to stay in a haunted house for a week. Based on real footage and events.

This experiment was a “prestige advertisement” for Shell Motor Oil. As conventional animation became dominated by Walt Disney, many European filmmakers turned to puppets as an alternative, and Lye enlisted the help of avant-garde friends such as Humphrey Jennings and John Banting to make the amusing puppets. Exploring the still-complex color process, which involved the combination of three separate images, Lye creates such a vivid storm scene that reviewers hailed it as “proof that the color film has entered a new stage.” The music is Holst’s The Planets. - Harvard Film Archive

Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive

A woman walks, loves, eats and washes herself, dances. It all takes place in a bedroom. At times flashbacks, or visualizations of previous or following scenes. Unless her life in the bedroom becomes an obsession, she lives through the other scenes.

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

Grant hides stolen money in the luggage of Bonnie Shea who is moving west. Later when he and his men arrive to retrieve the money, they also kidnap Bonnie. This sends Reasonin' Bates and his cowhands on their horses after the gangsters in their cars.

In a surreal meeting filled with countless individuals from a variety of backgrounds, nine people recount how sex and sexuality have been used to exert control over their lives. Regardless of race, sexual orientation, nationality, social class, religion, or gender, all are equally shattered and all are equally victims. Those that recount their experiences show that the power / sex dynamic can come in many forms. Whether the power is taken away by physical or psychological means, and regardless of whether it is perpetrated by an individual, institution, or society, the results are equally devastating.