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A piece of blank white paper placed and pulsating before a camera’s lens attracts a crowd of passers-by in Tunis, the simplicity of the conceit slowly more
A piece of blank white paper placed and pulsating before a camera’s lens attracts a crowd of passers-by in Tunis, the simplicity of the conceit slowly opening up to a profound reflection on the nature of cinema itself (both its creation and its collective viewing) while tracing the forms of a particular social and political landscape. close
In 1928, Georges Lacombe, then assistant to René Clair, filmed the ragpickers who lived in the "zone". As his camera was stationary, he took particular more
In 1928, Georges Lacombe, then assistant to René Clair, filmed the ragpickers who lived in the "zone". As his camera was stationary, he took particular care over the framing and he offers the viewer a document that is imbued with both realism and poetry. We even see the once-famous cancan dancer "La Goulue", sunk into poverty at the end of her life. - MHEU close
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. more
Lisl Ponger creates an imaginary map of the twentieth century on which the stories of emigration are engraved like well-worn tracks of occidental memory. The pictures, made by observant tourists, are revealed, in their tensile relationship to the soundtrack, as a post-colonial journey. A journey through exactly those countries which long ago have been shrunk together in space and time. Finally the wonderful neon signs of the “Hotel Edison” and “Radio City” remind one of the origins of this form of appropriation of the world, of the time of great expeditions, of Benjamin‘s shop-windows and passages, and of the time when technical apparatus and means of transportation fundamentally altered the perceptions of modern man. close
Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son more
Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son to the trauma of a pit accident. David was the first film produced by the BFI, in 1951, and the Welsh selection for the same year’s Festival of Britain screenings in London. close
UCLA's Ethno-Communications Program's first collective student film had intended to capture the East Los Angeles Chicano Moratorium Against the War in more
UCLA's Ethno-Communications Program's first collective student film had intended to capture the East Los Angeles Chicano Moratorium Against the War in Vietnam, Aug. 29, 1970, but the film turns into a requiem for slain journalist and movement icon, Ruben Salazar. The film shows footage of the march, the brutal police response and resulting chaos interspersed with scenes from the rather callous and superficial inquest. Filmmakers attached to the project have confirmed that the original elements for the film disappeared over 40 years ago. close
The first production from Frontier Films, the film production collective that was the successor to NYKino and the Workers Film and Photo League, Heart more
The first production from Frontier Films, the film production collective that was the successor to NYKino and the Workers Film and Photo League, Heart of Spain focuses on the Spanish Civil War, a conflict that became a touchstone of its era and was the most forceful opposition to the rising threat of fascism in Europe. Heart of Spain was begun by Geza Karpathi and Herbert Kline, who ultimately turned their footage over to Paul Strand, Leo Hurwitz, and Ben Maddow to make the film. It is compelling both for its shrewd formal aesthetics and as a sympathetic human document of the war. close
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films more
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films were originally commissioned for the Documenta 11 exhibition in Kassel, Germany in 2002. They were then screened in London by Artangel in the former Lumiere Cinema on St Martins Lane in the autumn of that same year. close
A cinematic devotional book. Based on interviews with an unemployable sufferer (and his fellows), living in the East German countryside. Who lost his more
A cinematic devotional book. Based on interviews with an unemployable sufferer (and his fellows), living in the East German countryside. Who lost his memory in 1989 and woke up into several nightmares. close
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. more
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. At the time of filming, the house was about to be taken back by the council - this film is an effective 'goodbye'. Margaret Tait said it 'was meant to define a place, or the feeling of being in one place, with the sense this gives one, not of restriction but of the infinite variations available.' close
"The film was conceived as a coda to a longer (colour) film, Place of Work, made in the same year. It covers the time of finally emptying a long-time more
"The film was conceived as a coda to a longer (colour) film, Place of Work, made in the same year. It covers the time of finally emptying a long-time family home, with its personal memories and connection with some of my own work. Fragments of verse, along with young children's voices released into the emptying rooms and staircases, and an ersatz 'pop' music track, clarify the familiar and the alien in the situation." Margaret Tait close
Gil Cardinal searches for his natural family and an understanding of the circumstances that led to his becoming a foster child. An important figure in more
Gil Cardinal searches for his natural family and an understanding of the circumstances that led to his becoming a foster child. An important figure in the history of Canadian Indigenous filmmaking, Gil Cardinal was born to a Métis mother but raised by a non-Indigenous foster family, and with this auto-biographical documentary he charts his efforts to find his biological mother and to understand why he was removed from her. Considered a milestone in documentary cinema, it addressed the country’s internal colonialism in a profoundly personal manner, winning a Special Jury Prize at Banff and multiple international awards. close
A film about Chris Kennedy’s Watching the Detectives (2018), a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer.
A film about Chris Kennedy’s Watching the Detectives (2018), a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer. close
Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, more
Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, drawings, ceramics, sculptures and works on stone, flint and bone) created between 1946 and 1981, by about 140 people compelled to live in the Netherne psychiatric hospital in South London. Blending archive, reconstruction, animation, 35mm rostrum, and observational photography, the film explores the transformation of these objects from clinical material to revered art objects examining the lives of the creators and the changing contexts in which the objects were produced and displayed. close
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow more
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us. close
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting more
"The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting rich diagonals in the early morning or late afternoon. Each shadow is a subtle balance of stillness and movement; it shows the vital instability of space. Its special quality opens a passage to the subjective; a voice within the film speaks to memory. The walls are screens through which I pass to the inhabited privacy. We experience a place through the perspective of where we come from and hear another's voice through our own acoustic. The sense of place is never separate from the moment." – R.B. close
The images in this film come from an extensive collection of out-dated raw stock that has been processed without being exposed, and sometimes rephotographed more
The images in this film come from an extensive collection of out-dated raw stock that has been processed without being exposed, and sometimes rephotographed in closer format. Each pattern of grain takes on its own emotional life, an evocation of different aspects of our own being. close
The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days more
The result of a series of camera-less collaborations between the filmmaker, the Atlantic Ocean, and a crab trap. For three days in January and three days in October of 1997, and again, for a day, in August of 1998, lengths of unexposed, undeveloped film were soaked in a crab cage on a South Carolina beach. Both the sound and image are the result of the ensuing oceanic inscriptions written directly into the emulsion of the film as it was buffeted by the salt water, sand, rocks and shells. close
'I don't know if you've ever heard a goat eating carrots? It's almost too much, it's so lovely' An Eyeful of Sound conjures up the fascinating visually more
'I don't know if you've ever heard a goat eating carrots? It's almost too much, it's so lovely' An Eyeful of Sound conjures up the fascinating visually complex internal world of audio-visual synaesthesia, where senses make unique neural connections the rest of us don't experience. Synaesthesia is discussed, argued over, dissected and celebrated in this beautifully sensitive animated documentary. close
The misadventures of a group of young people who seek a better life by becoming bullfighters, the only way to leave their poor existence in the slums of Barcelona.
The misadventures of a group of young people who seek a better life by becoming bullfighters, the only way to leave their poor existence in the slums of Barcelona. close
Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket more
Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket as a game, a craft, an interest of a people, a piece of history. The craftsmen are shown who make the ball and the bat–that ‘fourth straight stick’ with which the batsmen defend ‘the other three’. The craftsmen are shown who play the game, from W. G. Grace in the ‘nets’ to D. G. Bradman and Denis Compton in the thread of the ‘Test’. The history of the game is epitomized in the Long Room shots at Lord’s and from there the camera moves to the village green; to the London side- street where the urchins play on a ‘bumping pitch’; to South Africa, and India, where in the ‘blinding light’ there is often ‘an hour to play and the last man in. close
"Fogo is a windswept island off the coast of Newfoundland where the inhabitants for generations have lived by, on and from the sea. In this film William more
"Fogo is a windswept island off the coast of Newfoundland where the inhabitants for generations have lived by, on and from the sea. In this film William Wells, fisherman, and his two sons take a day off from the nets for a journey to the gannet colony on the Funk Islands, fifty miles farther out to sea. There are exceptional close-up views of enormous flocks of seabirds swarming on the cliffs and in the sky." close
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