Dear (2014)
Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.
Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.
This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.
A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.
Originally produced anonymously and distributed by RTMark, Untitled #29.95 tells the story of the commercial art establishment's attempt to turn video art into a precious commodified object through the release of limited editions during the nineties.
A video reconstruction of the 1977 Wooster Group production Rumstick Road, an experimental theater performance created by Spalding Gray and Elizabeth LeCompte after the suicide of Gray's mother. Archival recordings are combined with photographs, slides, and other materials to recreate the original production.
An experimental ethnographic documentary that criticizes the colonizer view of anthropology.
A 6-year-old Tibetan boy leaves his family and flees to a refugee camp in northern India.
A tale of 2 passages within the Spirit house. This is the first in a series that looks at the places we find our spiritual presence augmented, inflamed, or simply acknowledged.
A vehicle of consciousness navigates the vertiginous labyrinths of San Francisco. ROMAN CHARIOT was filmed over several months with a spy camera mounted on filmmaker David Sherman's son's baby carriage.
Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope
Study of the relationship between observer and landscape in the contemplative experience. The view building the landscape from the necessary distance. The delimitation of its borders against the total continuum of nature. The observer immersed in the path of his gaze across the landscape. Resting the gaze in the details that make the globallity. The view selecting the space included as a landscape.
We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.
We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.
Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.
Film by Robert Todd
A self-portrait short film on 16mm from a trans male perspective.
Folk portraiture, images of children in suburbia.
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.
“Aguas Negras” is an experimental documentary about the Cuautitlán River. The film examines the passage of time and the pollution of the river by focusing on conversations with multiple generations of women in the filmmaker's family that have grown up by the river in a municipality identified as having the highest perception of insecurity in the State of Mexico.
Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.
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.