Machete Gillette... Mama

One of the major works by South Korean feminist film collective Kaidu Club, this short is a dynamic, idiosyncratic, and mosaic-like portrait of Korean life, culture, and people who dream of a unified North and South.

Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.

Time to Remove Superman It is fragmentarily a story of death and it can also be connected to the opposite - birth. When I did research for this work, what was really interesting was an article read that 'We came from dirt and we go back to dirt' is everywhere in all religions and philosophies of all cultures. And I found that sentence and thought over different things and I reached it was meant to be only that way. Regardless of primitive or modern society, religions or philosophies couldn't help but think human body is rotten away and it is cremated and made dirt. We know the process but we haven't seen that. I thought it would be meaningful if I made that out to show. We've watched a mummy disappearing in a movie using CG but I thought I could visually display a message that things we cherished or in which knowledge was contained were made dirt or on the other way, they had been dirt before they came to us.

The Displaced View traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history, are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative, question documentary as truth.

Rainer Kohlberger applied various algorithms to extract the noise from a vast number of action films and used this to reduce the dramaturgy of the narrative to its essence. keep that dream burning oscillates between maximum abstraction and pure blur. Within the blurriness, objects form and disappear. The surface allows the space to be conceived.

This cine-portrait of New York City uses digital effects to turn the countless riders of the subway system into living, breathing paintings.

In the Mojave Desert, fields of solar panels follow the sun’s daily journey in perfect synchronicity.

The darkness of the mine, invaded by the miners' light, by the noisy machines and the permanent and intense smell of ore in the air, leads us to an environment in which time and space become confused. A documentary film at Panasqueiras' Mine, between 2008/09. A reality captured by an eye-observer which does not interfere, but follows the compost that grows from the earth and is decomposed by man-machine.

A silent succession of black-and-white photographs of the city of Montreal.

SONG 5: A childbirth song (the Songs are a cycle of silent color 8mm films by the American experimental filmmaker Stan Brakhage produced from 1964 to 1969).

"…elegant yet rustic in its simplicity of execution; tugged gently toward different sides of the set by hints of color and motion interactions, positive and negative spaces, etc., and the unyielding delivery on one of the great apotheoses of poetic cinema at fade-out time." – Tony Conrad

An experimental sports film made partly during the Scandinavian Open Championships in Halmstad in 1970, partly during the Chinese players' exhibition tour in Denmark immediately after the SOC. First of all, it is a film about their style, about the artistic culmination that is ping-pong at its best, it records China's comeback into the international sports world.

In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries. Just Hold Still is comprised of an interconnected series of short works and collaborations that explore the gray area between documentary, narrative, and experimental genres.

On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.

Sarah is a debt collector who lives among the inhabitants of the village of Guimbal on the island of Panay. She wants to find the young man who appeared to her in a dream and goes to the island of Negros. Here, as she interacts with the inhabitants, Sarah continues her search, gathering memories of life and war, dreams, myths, legends, songs and stories that she takes part in and at times revolve around her. She is the daughter of an ancient mermaid, a revolutionary, a primordial element, a virgin who was kidnapped and hidden away from the sunlight. “The film is a retelling of fragments of the American occupation. Dialogue, shot in the Hiligaynon language, is not translated but used as a tonal guide and a tool for narration. Using unscripted scenes shot where the main character was asked to merely interact with the villagers, I discard dialogue and draw meaning from peoples’ faces, voices, and actions, weaving an entirely different story through the use of subtitles and inter-titles.”

This documentary aims to register this unknown side of James Joyce: His Greek Notebooks. Trieste. Bloomsday, 2013. Dance in slow motion, accompanied by text. By deconstructing the body, we turn it into a memory: of the body, of life, of texts. The biographical references to Joyce and Mando Aravantinou, combined with the diagonal slicing of the image, cancel the realism of the landscape, including that of the Narrator’s space/study. As a culmination, Joyce’s letter “A request for a loan in Greek” functions as a timely denunciation. Various routes through cities, such as Trieste, London, New York, and Athens; languages such as Greek and English. In addition to the primal myth of Ulysses, there is another issue: Greek is “the language of the subject of Ulysses”

In the fall of 1986, Richard Fung made his first visit to his father's birthplace, a village in southern Guangdong, China. This experimental documentary examines the way children of immigrants relate to the land of their parents, and focuses on the ongoing subjective construction of history and memory. The Way to My Father's Village juxtaposes the son's search for his own historical roots, and his father's avoidance of his cultural heritage.

"An experimental documentary on Reverend L.O. Taylor, a black Baptist minister from Memphis, Tennessee who was also an inspired filmmaker with an overwhelming interest in preserving the social and cultural fabric of his own community in the 1930′s and 40s. I combine his films and music recordings with my own images of Memphis neighborhoods and religious gatherings" -Sachs

My Mother's Place is an experimental documentary focusing on the artist's mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing. She conveys these with a storytelling style and a frankness that is distinctly West Indian. A tape about memory, oral history, and autobiography, My Mother's Place interweaves interviews, personal narrative, home movies, and verité footage of the Caribbean to explore the formation of race, class, and gender under colonialism.

The collective life of the generation born as Jurij Gagarin became the first man in space. Vitaly Mansky has woven together a fictional biography – taken from over 5.000 hours of film material, and 20.000 still pictures made for home use. A moving document of the fictional, but nonetheless true life of the generation who grew up in this time of huge change and upheaval.