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Light western european short movies of 80-th - very rare category. We know total 37 this movies.
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Early no budget experimental Super-8 short film made by Buttgereit in just one day in 1982.
Nazi leader Adolf Hitler has survived the war, holed up in more
Early no budget experimental Super-8 short film made by Buttgereit in just one day in 1982.
Nazi leader Adolf Hitler has survived the war, holed up in his bunker. There, he re-created his former wife Eva Braun as a Frankenstein monster, along with a “Germanic breeding bull”(played by Buttgereit). With the help of these Nazi-zombies, he wants to take over the world again. But as soon as the monsters awake, they tear their maker to shreds. Much fun and gory effects! close
After a volcanic eruption, a small village from which no one can escape. The plague spreads, and among the survivors, famine rules. For a piece of bread, more
After a volcanic eruption, a small village from which no one can escape. The plague spreads, and among the survivors, famine rules. For a piece of bread, Charlotte sleeps with the grocer. Night is falling. At the top of a hill, someone is watching. close
A short movie directed by french director Christophe Gans (Crying Freeman, Silent Hill) when he was studying directing. It's an homage to Mario Bava and the giallo genre.
A short movie directed by french director Christophe Gans (Crying Freeman, Silent Hill) when he was studying directing. It's an homage to Mario Bava and the giallo genre. close
On the instructions of her teacher, medical student Monica Hausmeister goes to practice in a massage salon. At the first session, the girl is faced with more
On the instructions of her teacher, medical student Monica Hausmeister goes to practice in a massage salon. At the first session, the girl is faced with a very free behavior of the client. In horror, rushing away, she discovers that in all the “cabinets” there is real negligence. However, her righteous anger quickly subsides when her supervisor appears at the salon doors and takes the leadership of the student practice into her firm male hands. . . close
Jörg Buttgereit himself plays a TV horror show presenter, introducing the audience to a variety of "Horror classics”. These are of course all short Super more
Jörg Buttgereit himself plays a TV horror show presenter, introducing the audience to a variety of "Horror classics”. These are of course all short Super 8 films and he shows here his versatility as a filmmaker. The short pieces are all made in 1984 and range from a spoof on the Mummy to a Frankenstein parody, to an amazingly well-crafted stop-motion animated Godzilla-like monster pic called GAZORRA (starring Daktari Lorenz from NEKROMANTIK) to a down and dirty girl-fights-off-violent-rapist segment named CANNIBAL GIRL. Hilarious horror comedy! close
A young, mentally ill man, a visual artist in crisis Victor Marse (Lars von Trier) meets two nurses (Eliza and her girlfriend) during his stay in a sanatorium. more
A young, mentally ill man, a visual artist in crisis Victor Marse (Lars von Trier) meets two nurses (Eliza and her girlfriend) during his stay in a sanatorium. These nurses are obvious lesbians. Victor lives with Eliza and her son. He imagines another woman when he is roaming at a coast. He pretends committing a suicide but Eliza does not react to it. Every moment, he stays in front of a blank canvas and thinks. Meanwhile he dresses into Nazi clothes or into women dresses, then he leaves to go to the cinema, and abuses and probably kills a small girl. His masochistic affair with Eliza lasts; he is close to shooting her with a gun but instead she takes out a whip. Victor goes along the streets then he lies naked in front of the canvas on which he has left his bloody fingerprints. After this he drives a funeral car to his work - he is employed in a garden where orchids are grown. Eliza is now the past and in the end, Victor might be dead as someone drives a cross into the ground. close
A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, more
A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production. close
Three young people, two boys and a girl, meet on a Friday evening in an urban post-disaster setting which has brought Helsinki to ruins. The boys' sole more
Three young people, two boys and a girl, meet on a Friday evening in an urban post-disaster setting which has brought Helsinki to ruins. The boys' sole purpose of life is to play a Flip-Flop pinball machine. close
This short film is Godard’s message to the people of Lausanne, specifically journalist and critic Freddy Buache, addressing his reasons why he will not more
This short film is Godard’s message to the people of Lausanne, specifically journalist and critic Freddy Buache, addressing his reasons why he will not make a film about their town’s 500th anniversary. Rather than cynical or defensive, Godard's bemused narration of the footage of Lausanne is imaginative and even playful, a rumination on cinema's possibilities. close
A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic more
A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page. close
Alix Cléo Roubaud, a photographer, describes her images to Eustache’s son Boris. An “essay in the shape of a hoax”, Eustache’s last film wittily questions more
Alix Cléo Roubaud, a photographer, describes her images to Eustache’s son Boris. An “essay in the shape of a hoax”, Eustache’s last film wittily questions the relationship between showing and telling as it gradually shifts Alix’s narration out of sync with what we see. close
An unusual visit to a large, empty apartment. But is it empty or not? Maybe a family has lived there or is going to live there. Maybe a young girl is more
An unusual visit to a large, empty apartment. But is it empty or not? Maybe a family has lived there or is going to live there. Maybe a young girl is going to escape from there. Maybe some of the old-timers who lived there never left. The walls themselves tell the stories of the time passing by. - Fandor close
The documentary follows Gene Scott, famous televangelist involved with constant fights against FCC, who tried to shut down his TV show during the 1970s more
The documentary follows Gene Scott, famous televangelist involved with constant fights against FCC, who tried to shut down his TV show during the 1970s and '80s, and even argues with his viewers, complaining about their lack of support by not sending enough money to keep going with the show. close
Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc.
Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc. close
Filmed by Jean Eustache for the television program, Les Enthousiastes, Hieronymus Bosch's Garden of Delights presents a series of unstructured observations, more
Filmed by Jean Eustache for the television program, Les Enthousiastes, Hieronymus Bosch's Garden of Delights presents a series of unstructured observations, free associations, and interpretations on the third panel of Bosch's well-known oil on wood triptych. close
Filmed on the 100th anniversary of the labour union laws in France, the quasi-science fiction film is set in 2084. A robot moderator helps us look 'back' more
Filmed on the 100th anniversary of the labour union laws in France, the quasi-science fiction film is set in 2084. A robot moderator helps us look 'back' at the contemporary labour situation and different directions the movement could take. close
Anne-Marie Miéville, frequent collaborator of Jean-Luc Godard, made this partner piece to Godard's own 'Je vous salue, Marie'. Marie, eleven years old, more
Anne-Marie Miéville, frequent collaborator of Jean-Luc Godard, made this partner piece to Godard's own 'Je vous salue, Marie'. Marie, eleven years old, is experiencing difficult times. Her parents will separate. The perception of her universe is profoundly disturbed. This exacting portrait of a child immersed in her books, music and dancing casts a dispassionate yet touching eye on the girl's reaction to the new upheaval in her life. close
The film shows four women moving in a crowded, closed room to the music of Monteverdi. They represent women living by passing on a role that is passed more
The film shows four women moving in a crowded, closed room to the music of Monteverdi. They represent women living by passing on a role that is passed down to them for generations. Two of the dancers are damned souls that come to life, the third is death and the fourth a child born free, but forced into the other female roles. close
L’art d’aimer / The Art of Loving (1985), another colour short, is probably the weakest of the ten films, mostly because it’s a blurry monologue (read more
L’art d’aimer / The Art of Loving (1985), another colour short, is probably the weakest of the ten films, mostly because it’s a blurry monologue (read by Smolders) from the perspective of a man confused about past events from his youth, and the fate of his mother. Smolder’s voice is deadly monotone, and the short drones on towards a climax set in an old age home, and a room filled with men and women suffering from diverse ailments, or seniors trapped in some darkened mental gloom. - kqek.com close
As a visual narrative it is reminiscent of a pile of postcards from a journey, which indeed is what the film is. It consists of a series of lengthy shots more
As a visual narrative it is reminiscent of a pile of postcards from a journey, which indeed is what the film is. It consists of a series of lengthy shots of a tableau nature, each appearing to be a more or less random cross section of American reality, but which in total invoke a highly emblematic picture of the USA. close
A musical short film about the extermination of Roma by the Nazis during World War II. One of the first directorial works of Tony Gatlif and the first more
A musical short film about the extermination of Roma by the Nazis during World War II. One of the first directorial works of Tony Gatlif and the first in which he addresses directly to gypsy themes. In fact, all those elements from which Gatlif will build his famous films in the future are already presented here: ethnographic documentary, fantastic musical “pressure”, attention to the dark pages of history (the Roma will be remembered in Swing as well), the fate and inner strength of a person; a fierce speech against social injustice.
Perhaps that is why the plot of the tape is extremely simple, even schematic. Roma are sitting in a concentration camp, behind barbed wire and trying to use flamenco – “song and dance” – to express their protest, to ignite themselves to fight. These expressive musical numbers, performed in the French-Spanish "narrhechia", however, are wordless. The first number is actually a protest. The second is the laconic statement “I am a gypsy.” The third song is based on the phrase “Run the gypsies, live the gypsies”. Thus, the nomadic image of gypsy life acquires the maximum weight from Gatlif, as the only possible form of existence, and “flight” becomes a life victory. Although, of course, it can be viewed melancholy as a defeat, a lack of strength to fight.
I don’t think the German overseers need translation either. These are monosyllabic orders. Their execution is clearly illustrated by the director. In addition, they are on the "heard" of anyone who has seen at least one picture of the horrors of World War II. close
