Masking Threshold (2022)

This year, over 5 million American kids will be bullied at school, online, on the bus, at home, through their cell phones and on the streets of their towns, making it the most common form of violence young people in this country experience. The Bully Project is the first feature documentary film to show how we've all been affected by bullying, whether we've been victims, perpetrators or stood silent witness. The world we inhabit as adults begins on the playground. The Bully Project opens on the first day of school. For the more than 5 million kids who'll be bullied this year in the United States, it's a day filled with more anxiety and foreboding than excitement. As the sun rises and school busses across the country overflow with backpacks, brass instruments and the rambunctious sounds of raging hormones, this is a ride into the unknown.

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.

Small-town Mississippians overreact to the appearance of a mythical swamp monster, partially the work of teen hoaxers.

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

A tiger shark bred by the Navy as a killing machine is wreaking havoc in the sleepy tourist town of Hampton Bay.

Pollet and Schlöndorff imagine the Mediterranean as a supernal arena.

A young filmmaker decides to make a movie about his day-to-day activities in an attempt to understand himself and get his life back in order. A precursor to reality television and vlogs.

Thoughtful documentary exploring the shocking court decision to grant custody to a child’s father, a convicted murderer, rather than her lesbian mother.

With extraordinary access, BLAST exposes a world of risky, hardcore, scientific adventure. The story follows an international team of astrophysicists trying to launch a multi-million dollar telescope on a NASA high-altitude balloon. Their journey to discover thousands of early galaxies takes them from the Arctic to the Antarctic. Revealing frustrations, inevitable failures and ultimate triumph, BLAST puts a human face on the quest to answer our most basic question - How did we get here? (IMDb)

A young woman works as a waitress in a diner. Her relationship with her boyfriend is unfulfilling and to further complicate things she is obsessed with a large hemangioma, or benign vascular tumor, on her hip (one that we actually never see). One day after she encounters a mysterious man wearing a hood and playing a clarinet she discover a small shack built out of cardboard. She crawls into it and suddenly we are transported to this young woman's interior world, a place where she meets her own doppelgänger in the form of a large doll who bears the same birthmark on her hip.

A woman rocks a cradle; a man comes to land from the sea, but leaves to view it from a distance.

A free flow from photography to geometric abstraction hand-painted by Breer. - Harvard Film Archive

A (barely) two minute short is that it was made specially for a Paramount newsreel segment on Bute and Nemeth making films in their teensy New York apartment. Paramount apparently never got round to including the filmmakers in any newsreel, but their own film survived in the Bute-Nemeth Archive. (weirdwildrealm.com) To the rhythm of music that sounds a bit like a Busby Berkeley tune, lines and circles appear against a black background. Then triangles, in groups. Black and white squares move in tandem. Sparkling forms turn in kaleidoscopic patterns. Then cubes appear, white against the background, bouncing; a yin and yang rotate a few times before the film ends with an quick burst of scattering light.

로라 멀비와 피터 월렌은 1974년에 영국으로 돌아온 이후, 당시 번영 중이던 실험영화 환경 속에서 활발한 영화 문화와 국고 보조금 덕분에 영국영화협회 제작위원회의 지원으로 를 제작했다. 그들은 다시 한 번 고대 그리스 신화를 이야기의 출발점으로 잡았다: 지그문트 프로이트가 정신분석이론에 키 텍스트로 사용한 오이디푸스의 이야기가 그것이다. 이 영화는 대칭으로 구성되어 있다. 멀비의 장면 뒤에 짧은 시작과 끝나는 장면으로 이어지는데 첫 번째 장면에서는 그녀가 오이디푸스 신화의 문화적 역사적 의의를 조사하고 스핑크스는 '질문하는 목소리, 수수께끼를 내는 목소리'로서 영화 속에서 서술자의 역할을 할 것이라고 설명한다. 13분할로 나뉜 이 영화의 중심 부분은 루이즈의 이야기를 들려주고 있다. 루이즈는 남편과 헤어진 후 일과 육아 사이에서 균형을 잡으려 노력하고 있는 젊은 어머니이다. 영화가 주부와 어머니에서부터 권능감과 정체성을 가진 여성에 이르는 여정의 다양한 측면을 추적하기 위해 각 분할은정 고된 위치에서 360도 회전하는 파노라마 카메라 촬영으로 구성된다. (2017년 한국영상자료원 - 인디다큐 시간여행: 어느 여성 노동자의 기억법)

An angry Seminole chief wages war after his tribe is relocated from Florida to the American West.

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.

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.

Experimental film consisting of a single static shot of the Empire State Building from early evening until nearly 3 am the next day.

영화를 전공하는 알렉스. 어느 날 그에게 의문의 이메일이 전송된다. 그레이브 인카운터를 촬영 후 실제 실종된 제작진과 정신병원에 대해 알려주겠다는 의문의 제보자. 무언가 비밀이 있다고 직감한 알렉스는 이야기의 근원을 파헤치기 위해 친구들과 함께 정신병원으로 향하는데...

This portrait of the filmmaker's apartment, painted in the color of the title, was made a few months before his departure from New York. It is dedicated to the filmmaker Stan Brakhage and was shot without a scenario and edited entirely in the camera.