Imagens (1972)

A girl gets in a car accident and wanders through the woods, encountering all kinds of nightmarish things.

The sad and happy times of a young girl and her bear doll, a young mouse and his family, a sycamore tree, an old lamp post, a hoodlum moth and an alleyway full of posters coming to life.

The creation of Earth and Mankind. And how God changed his mind.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

Pollet and Schlöndorff imagine the Mediterranean as a supernal arena.

Andy Warhol’s screen adaptation of Burgess's "A Clockwork Orange”.

Maya Deren’s shortest, two-minute A Study in Choreography for Camera seems like an exercise piece to capture a dancer’s movement on celluloid, which later on developed into her masterpieces such as Ritual in Transfigured Time and Meditation on Violence.

An experimental film in which both sound and visuals were created entirely by Norman McLaren drawing directly upon the film with ordinary pen and ink. The main title is in eight languages. Rereleased with multilingual titles in 1949.

Rio de Janeiro. September, 2008. Three men stalk the gloomy back-alleys of the city's notorious slums. Spiderman, a 28-year-old drug lord, embarks on a routine patrol through the shadowy streets of Coréia, the sprawling slum he controls. Inspector Leonardo Torres, a muscle-bound operative from Rio's drug squad, inches through the alleys of another shantytown, shots ringing out around him. And Pastor Dione, an evangelical preacher intent on ending Rio's drug conflict, trawls the slums for lost souls. With unprecedented access to some of Rio's most wanted men, Dancing with the Devil in the City of God tells the story of Rio's drug war through the eyes of three men locked into one of the bloodiest urban conflicts on earth. Written by Jon Blair and Tom Phillips

‘여기보다 어딘가에’를 꿈꾸는 현대 젊은이들의 이상향을 에덴 동산으로 설정한 로브그리예의 야심작. 에덴이라는 거울이 가득한 궁전 속에서 에로스와 타나토스가 공존하는 젊은이들의 동거가 이루어진다. 이 집단에 새로 낯선 이가 도착하면서, 모든 남성들과 여성들이 그에게 정념을 품고, 새로운 의식과 이상한 각성이 그들 사이에 일어난다.

버지니아 울프의 소설 『올란도』와 토드 브라우닝의 영화 에서 착안한 울리케 오팅거 감독의 시간여행 판타지. 남성과 여성을 오가는 여행자 주인공은 다섯 개의 무대를 관통하며 세계의 역사를 이야기한다. 중세 스페인의 종교 재판, 유랑 극단, 그리스 신화, 기형 인간, 카니발리즘적 이야기들은 퀴어적 관점에서 인간의 신체라는 한계를 극복하려 한다. (2019년 한국시네마테크협의회 - 독일 SF 특별전 - 미래는 어떻게 만들어지는가?)

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

"From the Notebook of..." was shot in Florence and takes as its point of departure Leonardo da Vinci's notebooks and Paul Valéry's essay on da Vinci's process. These two elements suggest an implicit comparison between the treatment of space in Renaissance art and the moving image. The film marks a critical development in the artist's work in that he repeatedly employs a series of rapid pans and upward tilts along the city's buildings or facades, often integrating glimpses of his own face. As Beavers notes in his writing on the film, the camera movements are tied to the filmmakers' presence and suggests his investigative gaze.

The Mexican Gelsen Gas side by side with Alexandro Jodorowsky (Fando y Lis, El Topo, The Holy Mountain and others) appeared as a theater director, artist and poet, had an idea about staging haiku's that would reflect the sexually-charged and politically streaming time. Early in the film finds a man buried a few rolls of film in the desert.

Part documentary, part personal essay, this experimental film combines archive imagery with the striking wintry landscapes of Alaska to tell the story of immigrant experience coming into the UK from 1960 onwards.

Chao-Li Chi shadow boxes indoors and practices with a sword outdoors. Theoretically, the film describes in a single continuous movement three degrees of traditional Chinese boxing, Wu-tang, Shao-lin, and Shao-lin with a sword. A long sequence of the ballet-like, sinuous Wu-tang becomes the more erratic Shao-lin; in the middle, there is an abrupt change to leaping sword movements, in the center of which, at the apogee of the leap, there is a long held freeze-frame.

A deconstruction of Dog Star Man that takes the four rolls and shows them first combined, then each combination of three rolls, then each combination of two rolls, then each individual roll. The plot is of a man who goes up a mountain with a dog to chop down a tree but has some unspecified transcendental experience while he is there.

Images of two women, two men, and a gray cat form a montage of rapid bits of movement. A woman is in a bedroom, another wears an apron: they work with their hands, occasionally looking up. A man enters a room, a woman smiles. He sits, another man sits and smokes. The cat stretches. There are close-ups of each. The light is dim; a filter accentuates red. A bare foot stands on a satin sheet. A woman disrobes. She pets the cat.

On a winter's day, a woman stretches near a window then sits in a bathtub of water. She's happy. Her lover is nearby; there are close ups of her face, her pregnant belly, and his hands caressing her. She gives birth: we see the crowning of the baby's head, then the birth itself; we watch a pair of hands tie off and cut the umbilical cord. With the help of the attending hands, the mother expels the placenta. The infant, a baby girl, nurses. We return from time to time to the bath scene. By the end, dad's excited; mother and daughter rest.