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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
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch. 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
The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown more
The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown from 27 different angles, and accompanied by avant-garde Western classical music composed for electric organ by Terry Riley. close
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised more
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice. close
Madeline Anderson’s documentary brings viewers to the front lines of the civil rights movement during the 1969 Charleston hospital workers’ strike, when more
Madeline Anderson’s documentary brings viewers to the front lines of the civil rights movement during the 1969 Charleston hospital workers’ strike, when 400 poorly paid Black women went on strike to demand union recognition and a wage increase, only to find themselves in confrontation with the National Guard and the state government. Anderson personally participated in the strike, along with such notable figures as Coretta Scott King, Ralph Abernathy and Andrew Young, all affiliated with Martin Luther King’s Southern Christian Leadership Conference. Anderson’s film shows the courage and resiliency of the strikers and the support they received from the local black community. It is an essential filmed record of this important moment in the history of civil and women’s rights. The film is also notable as arguably the first televised documentary on civil rights directed by a woman of color, solidifying its place in American film history. close
GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film more
GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film so that you hear your own voice as you read. The accompanying images of women, water, animals and saints were chosen for their indirect but potent correspondence to the text. close
A 16mm Warhol film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, more
A 16mm Warhol film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, Edie is positioned on the left side of the frame, facing right; she is talking to an unseen person off-screen to our right. In the film, the “real” or “live” Edie Sedgwick is seated on the right side of the film frame, with her video image behind her, and she is talking to an unseen person off-screen to our left. The effect of this setup is that it sometimes creates the rather strange illusion that we are watching Edie in conversation with her own video image. 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 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
An experimental film dedicated to the Dakota Sioux, which follows the form of the Christian Mass. A series of images of contemporary America interwoven more
An experimental film dedicated to the Dakota Sioux, which follows the form of the Christian Mass. A series of images of contemporary America interwoven with the ritual spiriting away of a dead Indian. close
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement.
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement. close
Poetic Justice presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of more
Poetic Justice presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the mind of the viewer. close
The shadowing forth of Our Lord Lucifer, as the Power of Darkness gather at a midnight mass. The dance of the Magus widdershins around the Swirling Spiral more
The shadowing forth of Our Lord Lucifer, as the Power of Darkness gather at a midnight mass. The dance of the Magus widdershins around the Swirling Spiral Force, the solar swastika, until the Bringer of Light—Lucifer—breaks through. close
Cutting and sewing as metaphors. Central to this work are the complex emotions surrounding love, separation, and the metonymic twinning of objects, including more
Cutting and sewing as metaphors. Central to this work are the complex emotions surrounding love, separation, and the metonymic twinning of objects, including that of edited image and saturated sound. close
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. more
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing. close
"Even when we know the game is an illusion, the experience of Bleu Shut is entirely a pleasure: the ‘game’ is fun, the Nelson/Wiley debates, infectiously more
"Even when we know the game is an illusion, the experience of Bleu Shut is entirely a pleasure: the ‘game’ is fun, the Nelson/Wiley debates, infectiously funny; and Nelson’s choice of imagery, quirky and amusing. Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life." –Scott MacDonald close
A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors.
A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors. close
This documentary movie is about the battle of San Pietro, a small village in Italy. Over 1,100 US soldiers were killed while trying to take this location, more
This documentary movie is about the battle of San Pietro, a small village in Italy. Over 1,100 US soldiers were killed while trying to take this location, that blocked the way for the Allied forces from the Germans. close
Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second more
Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York. close
While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had more
While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, nicknamed "Yanco". This hitherto unknown uncle lives on a boat in Sausalito, is a painter, has adopted a hippie lifestyle and loves life. The meeting is a very happy one. close
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