Selva. A Portrait of Parvaneh Navaï (1982)

"Using the same, three times repeating dialogue – dramatic conversation between man and woman – Jerzy Skolimowski from Poland, Slovak director Peter Solan and Czech director Zbynìk Brynych shot three different stories. The result was an extraordinary experiment in the world cinema, which we can call an insight in the relationships of men and women of different age groups, an analysis of love and marriage of those who are at the beginning, in the middle or going towards the end of their life."

With harpsichord music in the background, a dandy, seated at a table, plucks a quill pen from a ceiling full of them above him, dips it in ink, thinks, then draws a straight line down the page in front of him, out of which sprout six more quill pens, each held by a hand. The calligrapher moves all the hands and pens in unison, drawing an elaborate feathered wing, which comes to live, peeling off the page, and, now a quill pen, slips in to his hand. He tucks it behind his left ear.

A display at the strange and wonderful artifacts in a collection of medical curiosities.

Two men seek to negotiate an agreement of international significance.

No verão de 1979, um grupo de seis garotos em uma cidade industrial de Ohio testemunha uma catastrófica colisão noturna de uma caminhonete com um trem de carga. Eles registram tudo com a câmera Super-8 com a qual estavam tentando fazer um filme. Não tarda para que eles comecem a desconfiar que aquilo não foi um acidente, quando misteriosos desaparecimentos começam a acontecer e o exército tenta encobrir a verdade (algo muito mais terrível do que eles poderiam imaginar).

In April, 1975, civil war breaks out; Beirut is partitioned along a Moslem-Christian line. Tarek is in high school, making Super 8 movies with his friend, Omar. At first the war is a lark: school has closed, the violence is fascinating, getting from West to East is a game. His mother wants to leave; his father refuses. Tarek spends time with May, a Christian, orphaned and living in his building. By accident, Tarek goes to an infamous brothel in the war-torn Olive Quarter, meeting its legendary madam, Oum Walid. He then takes Omar and May there using her underwear as a white flag for safe passage. Family tensions rise. As he comes of age, the war moves inexorably from adventure to tragedy.

A man is threatened by mobsters to pay up a loan or be killed.

A boy puppet falls in love with a girl puppet. In a cruel twist of fate,they are separated when they are purchased by different people. When they chance upon each other again, the boy puppet does everything in his power to return to her side.

"In his description for A CHILD'S GARDEN, Brakhage quotes from poets Ronald Johnson and Charles Olson (and cites Johnson's poem "Beam 29" as inspiration). But the film also vaguely calls to mind William Blake—more perhaps for his art than his poetry: there is both a sense of darkness and of mystical transport in Brakhage's images. The first film in the loose "Vancouver Island" quartet, Brakhage films locations around the British Columbia locale where his second wife, Marilyn, grew up. He films land, sea, and sky and intercuts frequently between them. Shots are often out-of-focus, to accentuate color and light; they are hand-held, upside down, and fleeting. All of this is no surprise for those who know Brakhage's work: anything and everything is valid, as long as it works." - Cine-File.info

“When he shot Une seconde (4 min., 20 sec.), a video animation without computer graphics, Richard Angers tried to adapt Norman McLaren’s animation techniques to video shooting and editing. A long-term solitary task, in which images are moved by hand, centimetre by centimetre, in which one plays with the number of images per second, and in which the ± pure quest for effects is more important than the message”. BLANCHARD, Louise. “Les vidéastes sont au ‘rendez-vous’”, Le Journal de Montréal, Montreal (9 February 1992), p. 38.

This short film documents the daily life of the goings-on on Orchard Street, a commercial street in the Lower East Side New York City.

During a recent remodel of The Yellow House crews discovered the remains of a little girl and a super 8 movie camera with the footage still inside. The footage has been released to the media by Summerland police with the hope that someone can solve this mystery. Police investigators confirm the film was shot by the missing couple. It is believed they were murdered by occult members. This is their footage.

Video collage distributed by the label Come Organisation. I - IV.

'Amy, is narrated by a model (Liisa Repo-Martell) who’s painfully uncomfortable with her own body and “old woman’s” face. Astonishing closing image is a tightly composed telephoto shot on the start of a marathon race among young schoolgirls, dashing toward and then across the screen in ultra-slo-mo, and accompanied by a girls’ chorus hauntingly singing Brian Wilson’s God Only Knows. Widely eclectic lensing and looks in various media and in color and black-and-white flow nicely from one section to the next, aided by gifted editor Mark Karbusicky.' ~ Robert Koehler, Variety

Filip Mosz é um operário que resolve comprar uma filmadora 8 mm para registrar os primeiros dias da filha recém-nascida. No entanto, o que era para ser apenas um hobby se torna uma obsessão. Mosz começa a filmar tudo e todos. Pessoas do cotidiano transformam-se em "astros" de suas produções. Mas não tarda para que o "operário-documentarista" se depare com dilemas éticos, que trarão sérias consequências para ele e sua família.

Alfredo Lopez (Javier Cámara) é um vendedor fracassado de enciclopédias, que vive na Espanha dos anos 70. Convidado por seu chefe para um simpósio, ele e sua esposa Carmen (Candela Peña) são surpreendidos com o anúncio do novo projeto da empresa: a confecção de uma Enciclopédia Sexual Visual, que contará com fitas de casais de vários países europeus. A proposta do chefe é que seus empregados rodem seus próprios filmes eróticos, que seriam destinados exclusivamente aos países escandinavos. O casal, em crise financeira, aceita a proposta e inicia suas produções com uma simples câmera Super 8. Essa nova atividade rejuvenesce a paixão do casal, que fica famoso em toda a Escandinávia. Alfredo se empolga com a repercussão e influenciado por seu grande ídolo, Ingmar Bergman, planeja sua primeira incursão em uma película não pornográfica.

The Pollard family is calmly discussing their impending death by atom bomb when Mrs. Pollard recounts a dream in which she sensually bathes herself in the “Tears of Neglected Children”.

Enigmatic, stop-motion, animated story of a man's day.

In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.

Stop-motion animated short film in which a puppet on a trike captures a puppet bird-man.