Let Us Persevere in What We Have Resolved Before We Forget

Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope

A tale of 2 passages within the Spirit house. This is the first in a series that looks at the places we find our spiritual presence augmented, inflamed, or simply acknowledged.

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Documentary on the interdependence of the world of the living and the dead, and 'the infernal influence on the thoughts and actions of living people.

"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.

A collage of newsreels, trailers, clips and other visionary and unseen fragments of sight and sound regarding the late plastic artist Helio Oititica.

A look at the various modes of transportation made for the Expo '86 World Fair in Vancouver, Canada.

IMAGINERO is an ethnobiography of Hermogenes Cayo, a self-taught woodcarver and painter who lives on the high Andean plateau of Argentina. The film portrays Hermogenes, his wife Aurelia Kilpe, and their children in their Andean lifestyle, as well as Hermogenes' passion for painting, carving, building, and his devotion to the Virgin Mary. Devout, austere and dedicated to craftsmanship, he can make anything from religious figures carved from cactus wood to a working harmonium. Inspired by a trip to Buenos Aires to advocate for land rights, Hermogenes has labored to replicate the style of the capital's grand cathedral and shrine to the Virgin with resourcefulness and skill.

The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.

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Footage filmed in Spain, subjected a new visual effects process. Deslaw devoted himself to the discovery of a new machine that enabled film to be developed while using a new method called solarisation.

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At various points in its history, tiny St. John's Island was where Singapore's colonial founder Sir Stamford Raffles docked his ship upon arrival, a quarantine centre for immigrants and pilgrims returning from Mecca, a penal colony for political detainees and secret society leaders, and a sleepy holiday resort. Unlike its neighbouring islands, however, St. John's was never fully developed. It occupies an in-between space, the vestiges of its history scattered around the land. Its indeterminacy stands in sharp contrast to Singapore, where land use is meticulously planned to fulfil economic and social functions. In this film, St. John's Island - otherwise known as 'Bukit Orang Salah', a nickname coined by the people who were quarantined there - becomes a site of and for reflection, prompting questions about our history, heritage and identity.

Experimental short film from Yugoslavia.

A young woman and man are riding bikes through nature, having a good time. When she speeds up, he loses her, and after a while he stumbles across her bike without any trace of her. He stumbles through the forest looking for her, imagining how she kisses him. No dialogue, just "audio credits" instead of titles, saying the name of the film, actors and director.

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

Two screens of film about - and sometimes shot by - Claes Oldenburg, detailing his inspiration, his methods and his relationship with his partner Hannah Wilke.

Anne Bean, John McKeon, Stuart Brisley, Rita Donagh, Jamie Reid and Jimmy Boyle are interviewed about their artistic practice and the legacy of Surrealism on their work.

Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.

An experimental ethnographic documentary that criticizes the colonizer view of anthropology.