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A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching more
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen. close
A woman lies on the sand, left there by the tides and waves (and in a pose that would be copied in From Here to Eternity). She reaches up across tree more
A woman lies on the sand, left there by the tides and waves (and in a pose that would be copied in From Here to Eternity). She reaches up across tree roots and makes a difficult climb. Only to discover herself climbing horizontally along a long dinner table as bourgeoise black-tie guests chat and drink and smoke, oblivious to her. At the top of the table, a man is playing chess but abandons the game. Fascinated, she gazes at board, the pieces moving unaided. The woman chases a pawn as it falls to the floor. Falls down a waterfall. Is lost. close
On a whim, a greedy tycoon decides to corner the world market in wheat. This doubles the price of bread, forcing grain producers into charity lines and more
On a whim, a greedy tycoon decides to corner the world market in wheat. This doubles the price of bread, forcing grain producers into charity lines and others further into poverty. The film contrasts the differences between the lives of those who work to grow the wheat and the life of the man who dabbles in its sale for profit. close
The Laurel & Hardy Moving Co. have a challenging job on their hands (and backs): hauling a player piano up a monumental flight of stairs to Prof. von more
The Laurel & Hardy Moving Co. have a challenging job on their hands (and backs): hauling a player piano up a monumental flight of stairs to Prof. von Schwarzenhoffen's house. Their task is complicated by a sassy nursemaid and, unbeknownst to them, the impatient Prof. von Schwarzenhoffen himself. But the biggest problem is the force of gravity, which repeatedly pulls the piano back down to the bottom of the stairs. close
Bruce Conner’s most celebrated film for a reason: it takes historical moments that were replayed over and over on television—chilling repetition of Kennedy more
Bruce Conner’s most celebrated film for a reason: it takes historical moments that were replayed over and over on television—chilling repetition of Kennedy assassination coverage—and repurposes them into a meditation on how the media tries to exert authority and apply a sense of order to the anarchic. And though it may sound perverse to say so, the film is also—not incidentally—a thrill to watch. -- The A.V. Club close
Presented as loosely autobiographical, Hold Me While I’m Naked centres on the tribulations of an independent filmmaker, frustrated at every turn as he more
Presented as loosely autobiographical, Hold Me While I’m Naked centres on the tribulations of an independent filmmaker, frustrated at every turn as he tries to make a film that pretends to artistic merit. close
A social event choreographed in the manner of a dance, illuminated by concepts drawn from Greek legend; one of filmmaker Maya Deren’s most intriguing works.
A social event choreographed in the manner of a dance, illuminated by concepts drawn from Greek legend; one of filmmaker Maya Deren’s most intriguing works. close
Serene Velocity stares down the center of an empty institutional hallway while shifting the focal length of a stationary zoom lens, transforming the basement more
Serene Velocity stares down the center of an empty institutional hallway while shifting the focal length of a stationary zoom lens, transforming the basement corridor into a nexus of visual and conceptual energy. close
A scientific film essay, narrated by Phil Morrison. A set of pictures of two picnickers in a park, with the area of each frame one-tenth the size of the more
A scientific film essay, narrated by Phil Morrison. A set of pictures of two picnickers in a park, with the area of each frame one-tenth the size of the one before. Starting from a view of the entire known universe, the camera gradually zooms in until we are viewing the subatomic particles on a man's hand. close
Ollie's house is a mess after a wild party from the previous night. Ollie receives a telegram from his wife (who is on vacation in Chicago), which tells more
Ollie's house is a mess after a wild party from the previous night. Ollie receives a telegram from his wife (who is on vacation in Chicago), which tells him that she is returning home in the afternoon. Fearing his wife's wrath he calls Stan over to help him clean up. Things go downhill and they make more mess not less. close
Experimental short uses Ray Charles' “What'd I Say” as accompaniment to constantly shifting collage of female nude, cartoons, and newsreels of atomic bomb explosions.
Experimental short uses Ray Charles' “What'd I Say” as accompaniment to constantly shifting collage of female nude, cartoons, and newsreels of atomic bomb explosions. close
After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.
After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits. close
One of Richard Kern’s most ambitious works is Fingered (1986), whose sarcastic disclaimer says “although it is not our sole intention to shock, insult, more
One of Richard Kern’s most ambitious works is Fingered (1986), whose sarcastic disclaimer says “although it is not our sole intention to shock, insult, or irritate, you have been warned that we are catering only to our own preferences as members of the sexual minority.” close
Duke Ellington plays hot jazz in a fictional story that finds him down on his luck; he tries in vain to dissuade his friend, dancer Fredi Washington, more
Duke Ellington plays hot jazz in a fictional story that finds him down on his luck; he tries in vain to dissuade his friend, dancer Fredi Washington, from working with heart trouble even though it means work for his band. Sure enough, she collapses on stage... close
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are more
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males. close
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. more
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city's upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor. The imagery is interspersed with quotations from Walt Whitman, who is left unnamed. close
A visual representation, in four parts, of one man's internalization of "The Divine Comedy." Hell is a series of multicolored brush strokes against a more
A visual representation, in four parts, of one man's internalization of "The Divine Comedy." Hell is a series of multicolored brush strokes against a white background; the speed of the changing images varies. "Hell Spit Flexion," or springing out of Hell, is on smaller film stock, taking the center of the frame. Montages of color move rapidly with a star and the edge of a lighted moon briefly visible. Purgation is back to full frame; blurs of color occasionally slow down then freeze. From time to time, an image, such as a window or a face, is distinguishable for a moment. In "existence is song," colors swirl then flash in and out of view. Behind the vivid colors are momentary glimpses of volcanic activity. close
A Japanese fairy tale meets commedia dell'Arte. All in white, the naïf Pierrot lies in a wood. Doo-wop music plays as he rises, stares about, and reaches more
A Japanese fairy tale meets commedia dell'Arte. All in white, the naïf Pierrot lies in a wood. Doo-wop music plays as he rises, stares about, and reaches for the moon. Although music abounds and the children of the wood are there at play, Pierrot is melancholy and alone. Harlequin appears, brimming with confidence and energy. He conjures the lovely Colombina. Pierrot is dazzled. But can the course of true love run smooth?
Filmed in France in 1950, it was not completed nor released until 1971 close
Schultz raises prize chickens and roosters that are always getting into neighbor Max Davidson's garden and eating the seeds, leading to constant feuding more
Schultz raises prize chickens and roosters that are always getting into neighbor Max Davidson's garden and eating the seeds, leading to constant feuding between the two men. When their children announce their engagement the two men decide to bury the hatchet and Davidson suggests a dinner at his house. He gives his young son, Ignatz, two dollars to buy a chicken but the boy pockets the money and kills Schultz' first place rooster instead. Once seated at the table all but Schultz discover what they are eating and desperately try to hide the bad news from Schultz who is sure to kill Davidson if he knows the truth. close
In this story set at a seaside fishing village and inspired by a Charles Kingsley poem, a young couple's happy life is turned about by an accident. The more
In this story set at a seaside fishing village and inspired by a Charles Kingsley poem, a young couple's happy life is turned about by an accident. The husband, although saved from drowning, loses his memory. A child is on the way, and soon a daughter is born to his wife. We watch the passage of time, as his daughter matures and his wife ages. The daughter becomes a lovely young woman, herself ready for marriage. One day on the beach, the familiarity of the sea and the surroundings triggers a return of her father's memory, and we are reminded that although people age and change, the sea and the ways of the fisherfolk remain eternal. close
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