"...arm würd' ich nicht sagen..."

This documentary serves as a beginner’s guide to world of Soviet animation, which covers the entire history of the USSR.

A program that explores the strange but true medical mysteries housed in this one-of-a-kind museum in Philadelphia, Pennsylvania.

In 1978, just after Le fond de l'Air Est Rouge, which mercilessly analyzed the previous ten years of the revolutionary left's momentum until its collapse, Chris Marker made this complementary piece entitled Quand le Siècle a Pris Forme (Guerre et Révolution).

A video puzzle using mathematical principles and prime numbers, daring the audience to decode it's journey.

The vertiginous progress of modernity has caused the spaces that humanity previously inhabited, now remain forgotten.

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Click for full movie details & trailers.

Part of Chris Marker’s Three Video Haikus series, Tchaïka is a brief visual meditation showing an overexposed view of a bridge and the river flowing beneath it.

Part of Chris Marker’s Three Video Haikus series, Petite Ceinture is a brief visual meditation on Paris’s abandoned circular railway, filmed as an homage to the Lumière brothers.

Since Rosa was little, people used to say around town that her grandfather was a black dog. The legend, belonging to the Valley of Oaxaca, spoke of a man who had the ability to turn into a black dog and roam the streets at night. Through images of the town, interviews with the brothers and animated interventions, the documentary tells the story of the myth and its importance in the collective memory.

Animated training film depicting the fundamentals of electricity and how electrical signals can be used to keep an airplane on correct course and altitude through an autopilot.

A short portrait film of the collaboration between experimental musicians Art-Errorist (Jean-Herve Peron) and Zsolt Sőrés together with Jesus & Mary Chain's Douglas Hart.

After the capture of Shanghai, Japanese soldiers make a trip to Suzhou.

“Sardar Gurcharan Singh was the father of studio pottery in India. "Daddyji" as most called him lovingly was very close to my father. I often tagged along to visit his home studio where pottery wheels were lined up under the big neem trees in his old brick house. My father wanted me to make a film on Daddyji, who was then 95. He was afraid that Daddyji's wonderful story would be left untold. He not only introduced studio pottery in India but due to his longevity, mentored many potters. So despite not knowing anything about films, I made the documentary, Imprint in Clay with a classmate of mine, which was mostly funded by my father.”

MARKS/MARKS examines the relationship between the mark making of optical lens technologies (writing with light) and the mark making of painting within the context of digital technology and mass data. The film maps the movement of painter Dr Harrison Waed See in the studio painting to generate the tempo and trigger audio and visual effects. Similarly digital image sonification and digital data sonifcation of still and moving images of Dr See were used to generate further noise and visual effects. Alongside this, the soundtrack also includes amplifcations of the sound of his movements and paint brush.

World War II veteran Ray LeClair relives his marches through a haze of alcoholism on Winnipeg's Historic Main Street. The film draws from Ray's two battlefields, war and the street.

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Nikolina Kulidžan was twelve years old when she fell in love for the first time. Not long after, the Bosnian War changed her life forever.

A documentary about actress Edith Massey in which she talks about her life and her career in film.

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton