And There Was No More Sea (1953)

Using a 35mm strip of motion picture slug featuring the recently deceased American comedian Richard Pryor, this extended Rorschach assault on the eyes moves out of a flickering chaos created by incompatible film gauges into a punchline involving historically incompatible racial stereotypes.

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.

A documentary short in Chott el-Djerid.

A cheerful take on the lives of school children in a Swiss rural environment. Young pupils recite short essays they have written on subjects such as the long walk to school, the distribution of milk during breaks, and a brawl in the courtyard.

July ’71 is as much a record of the daily experiences of light and shadow as it is a catalogue of domestic life. More involved with “straight photography” than Brakhage, but far more engaged with tactility and the plastics of the image than Jonas Mekas, this early work embraces the mundane—making bread in the kitchen, riding bikes by the San Francisco Bay, hanging out in a cheap-looking flat with friends, plucking a game fowl for supper—while also paying attention to the wind, water, and trees that surround these fleeting moments.

An investigation of the emotional and economic value of Africa's most lucrative export: filmed poverty. Deep in the interiors of the Congo, Dutch artist Renzo Martens single-handedly undertakes an epic journey and launches an emancipatory program that helps the poor become aware of what is their primary capital resource: Poverty. After three years of traveling through the Democratic Republic of the Congo he asks the question: "Who owns poverty?

Several figures move through the darkness on a cliff-edge. An inaudible conversation near the brow of the cliff may be the cause for the group to disband. The rest of the film follows the solitary journey of the youngest member of the group, until she rests; where land meets the sea.

Peter Hutton’s meditation on the Hudson River.

Six men. The forest. The menace is there somewhere. Armed, ready, looking for action, they wander, day and night, striving for a confrontation.

The first part (winter) of a seasonal study of the Hudson river in New York.

Florence is a contemplative study of light and shadows, textures and planes, that makes beautiful use of the tonal qualities of black and white film. (mubi.com)

A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.

A series of shots showing the majesty of Japan.

Documentary about men who are fighting one of the elements in the 21st century: mine workers in Germany, king crab fishers of the Bering Sea, Russian "Smokejumpers" and astronaut training.

Atual Sardenha. "Dal profondo" foi filmado, do início ao fim, 500 metros abaixo do nível do mar na mina de carvão de Nuraxi Figus. Patrizia, a única mineira italiana, nos guiará até os lugares mais impenetráveis da última mina de carvão na Itália e através das almas e histórias de seus colegas.

A color-separation portrait of the Exarchia neighborhood of Athens, Greece, made during the Anti-Austerity protests in late 2011. In a place thick with stray cats and scooters, cops and Molotovs, ancient myths and new ruins; where fists are raised like so many columns in the Parthenon, this is a film of surfaces - of grafitti'd marble streets and wheat-pasted city walls - hand-processed in red, green, and blue.

Migration is an analysis of an image, a metaphorical exercise in perception and representation, illusion and reality, microcosm and macrocosm, nature and consciousness.

A portrait of a dedicated filmmaker who is a charming yet elusive figure in thrall to cinema and the constant perfection of his craft.

A short treatise on the semiotics of capital, happiness, and phenomenology under the flickering neon of global capitalism.

In Rembrandt, Haanstra shows that it is possible to make a fascinating film only with images from paintings. He had to travel though all over Europe to numerous museums and private owners in order to film the works of art. In the work of the great painter, Haanstra recognizes his particular interest in man as an individual human being, cutting straight through all the religious motives. And Haanstra also wants to see Rembrandt as an individual.