Quartet Number One (1991)

A woman’s face disappearing behind, and emerging from, a pair of hands. Flashing lights. An empty building full of dark hallways. Designs drawn in the air with light and long-exposure cinematography.

Em um bairro onde a maioria da população é predominantemente negra, Buggin' Out, um ativista, exige que Sal, um dono de uma pizzaria, troque as fotos de seus ídolos brancos do local por fotos de ídolos negros. Quando tem seu pedido negado, o ativista passa a organizar um boicote contra a pizzaria de Sal.

Uma bela mulher de cabelos negros e lábios vermelhos seduz os homens solitários que encontra em seu caminho. Ninguém imagina que sob sua pele se esconde uma perigosa alienígena que pode acabar com vidas para cumprir os desejos da sua espécie.

A forma como as vidas de três pessoas da mesma família são destruídas pelo vício e pela loucura: Harry e Marion são um casal que quer montar um pequeno negócio, mas sofrem com o vício das drogas, que os fará ir a extremos. Por sua vez, a mãe de Harry, Sara, sonha em ir ao seu programa de TV preferido. Mas quando é finalmente convidada começa, por vaidade, a tomar pílulas para emagrecer, ao ponto de o vício afectar a sua sanidade mental.

Tacita Dean realiza uma reflexão sobre o olhar cinematográfico ao comentar seu filme The Green Ray, no qual contempla o pôr do sol no mar. O trecho exibido é um excerto de “FILM,” vídeo feito para instalação do museu Tate Modern.

Conta a história do amor trágico entre uma aldeã e um artista citadino, numa atmosfera de romântico lirismo que remonta aos contos e tradições populares da Alemanha.

A busted projector on an otherwise gorgeous day. Shot on 16mm.

A man wanders. Available on demand from: ypostasfilm@gmx.com

Wolfgang Amadeus Mozart, according to his biographers (and his letters confirm this fact), was an extremely sensuous person, and Nachtstück (Nocturne) was intended to refer to this aspect of his personality: We glide into "Eine kleine Nachtmusik" a bit, then abandon standardized paths of conventional representational film and encounter a few seconds of passionate sensory filmæan example of something I would like to call "physical cinema." The thesis: Herr Mozart would have enjoyed it.

A depiction of a girl’s uneasy state of mind as it wavers between life and death.

An exploration of the ambiguities of documentary photographs which develops ideas triggered by a German pun. Worst Case Scenario starts out as a series of still photographs depicting daily life on a Viennese street corner. The film re-orders and manipulates a selection of these images, and as it progresses the static world slowly and subtly comes to life. As Sigmund Freud casts his long shadow across the city, an increasingly improbable chain of events and relationships starts to emerge.

Experimental filmmaker James Benning returns with this abstract documentary about California's Central Valley. Consisting of 35 shots, each over two minutes long, the film quietly portrays nature's subjugation to encroaching commercial interests. This film was screened at the 2000 Sundance Film Festival.

Viet Flakes was composed from an obsessive collection of Vietnam atrocity images, compiled over five years, from foreign magazines and newspapers. Schneemann uses the 8mm camera to “travel” within the photographs, producing a volatile animation.

"O'Neill found an envelope labeled 'Helen's Coreopsis' with seeds from a 1935 visit his mother had made to her sister in Nebraska. His film COREOPSIS was made by scratching into developed and discarded pieces of film stock revealing pink, yellow and clear layers. This remnant of his memory of her is performed and inscribed in these excised layers." - Erika Suderburg

EMULSION ELECTRONS IMBUED is part of a collection of films revolving around previously recorded cassette tapes. This film is the first in the series and originally shot on 16mm.

A play between the internal and external, an investigation between the printer and the optical effects of projection. One strip of super-8 film is reconstructed, taped onto 16mm and then re-photographed on the optical printer. The effluence, according to its new emulsion, becoming a reflection of its action.

In summer 2011, James Benning returned to his hometown of Milwaukee to make a third version of his seminal 1977 film 'One Way Boogie Woogie'. In 1977 he filmed 60 locations in Milwaukee’s industrial valley each for 60 seconds, creating short, minimal, playful narratives. In 2004 he remade the film as Twenty Seven Years Later, with the same 60 camera positions. This 2012 installation version, presents 18 locations similar to, and reminiscent of, the original.

A camera moves back and forth at an increasing pace. Back and forth, back and forth...

A musing is addressed to a glorious phantom-like entity.

From the south of France, a science fiction film about the end of the Leisure Class and that which came to replace it.