Seven Angels

Birth footage of one of Brakhage's children.

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.

Hotel Deluxe is basically "All's Well Ends Well 2013", with almost the same cast and crew, and some new faces added in. It tells the story of a team of hotel management trying their best to score a 5-star rating for their hotel, with some supporting characters and stories added in along the way.

Born to twin sisters on the same day in London, France and Margaret are more like brother and sister than cousins. The close relationship between the cousins is suspended when Margaret is sent abroad for schooling. Now a young woman, Margaret returns to London and resumes her intimate connection with France.

An experimental film of the group Throbbing Gristle in concert.

Working at the limits of what can easily be expressed, filmmaker Peter Mettler takes on the elusive subject of time, and once again turns his camera to filming the unfilmable. From the particle accelerator in Switzerland, where scientists seek to probe regions of time we cannot see, to lava flows in Hawaii which have overwhelmed all but one home on the south side of Big Island; from the disintegration of inner-city Detroit, to a Hindu funeral rite near the place of Buddha's enlightenment, Mettler explores our perception of time. He dares to dream the movie of the future while also immersing us in the wonder of the everyday. THE END OF TIME, at once personal, rigorous and visionary, Peter Mettler has crafted a film as compelling and magnificent as its subject.

Begone Dull Care shines with his masterful use of scratching and painting on film stock. In Begone Dull Care, McLaren adds complexity to Lye’s compositions, emphasising sound/visual synchronisation and generating depth on his mobile canvas. The film gives warmth and movement to compositions resembling a constantly morphing Jackson Pollock painting, yet never fails to remind us of its very calculated aesthetics when it suddenly adapts to the score’s slower movements and shifts from expressionistic and oversaturated explosions to minimalist vertical lines that vibrate accordingly to Oscar Peterson’s piano.

Bruce Conner's landmark experimental film consisting entirely of found footage edited to a new score.

An experimental film from Arthur Lipsett, Free Fall is an assortment of film trimmings assembled to make a wry comment on humankind in today’s world. It evokes a surrealist dream of our fall from grace into banality. (NFB.ca)

Kalidasan, a foodie, receives a phone call not intended for him. He finds that the person at the other end, Maya, is also fond of food and cooking. Soon they develop feelings for each other.

A New York couple and their Midwestern friends find that drastic changes have occurred in their respective lives since they last met.

Opera singer Chivo is currently playing a singing cowboy, and Mexican bandito Braganza kidnaps him (along with Jane, an heiress) so he can learn to become more like the American movie gangsters he admires.

A young location scout meets the art director of her project in a day they will keep in their memories for a while, each for their own reasons.

The apparent vertical scratch in celluloid that opens Presents literally opens into a film within the film. When its figure awakens into a woman in a 'real' unreal set, the slapstick satire of structural film begins. It is not the camera that moves, but the whole set, in this first of three material 'investigations' of camera movement. In the second, the camera literally invades the set; a plexiglass sheet in front of the dolly crushes everything in its sight as it zooms through space. Finally, this monster of formalism pushes through the wall of the set and the film cuts to a series of rapidly edited shots as the camera zigzags over lines of force and moving fields of vision in an approximation of the eye in nature. Snow pushes us into acceptance of present moments of vision, but the single drum beat that coincides with each edit in this elegaic section announces each moment of life's irreversible disappearance.

未亡人ハンナとかつての恋人ダニロ。そしてミルコの妻に言い寄るカミーユ。この二組の恋が絡み合う、レハール作の喜劇です。オペレッタ演出の第一人者であるローナーが、ゴージャスなステージ・セット&デザイン、そして衣装を得て作り上げた、リアルな貴族の館を思わせる世界。音楽監督であるヴェルザー=メストはグラインドボーン音楽祭でもこのオペレッタを指揮して大好評を得ており、作品が生まれた時代の雰囲気を伝えてくれます。

A royal mistress, Vaishali, is sent to bring sage Rishyasringa to the kingdom of Anga. After Rishyasringa follows Vaishali, he performs the ceremonies to break the curse and make it rain in Anga.

Passengers on an ocean liner recall their greatest loves.

A priest arrives in a village and give advice and comfort to different people. He meets a wheelchair-bound former representative of the Communist party, a woman who is dying of tuberculosis and an astronomer who sings in a punk band.

A young girl and her father are kicked out of their house by a cruel noblewoman, and the girl's heart is broken when her sweetheart, the noblewoman's son, won't go to Paris with them. After becoming an opera star in Paris, the girl returns to her homeland and finds her romance with the nobleman rekindled.

Harry, Billy and Dean are three hustlers at different stages in their careers. All must deal with the realities of their profession. One falls in love with a client, another enters deeper into denial, and another begins to learn the ropes.