objects in (the) mirror are closer than they appear

Longtime San Francisco filmmaker Dominic Angerame turns the classical city symphony on its head by focusing on demolition rather than forward​-​progress. Filmed in the aftermath of the Loma Prieta earthquake, DECONSTRUCTION SIGHT plays like an avant-garde disaster movie, an anti-spectacle in flaring black-and-white.

fifteen zero three nineteenth of january two thousand sixteen explores how everyday routines and gestures are transformed when a mother loses her child in the violence impacting Swedish outskirts since the early 2000s. The film resists simplistic media depictions of the suburbs and shows how a home can hold both mourning and the mobilization of women to fight for their own and others' children.

Short experimental film by Ernesto Baca

A video project meant to highlight the human cost in Palestine.

A stunning, sweeping technohistory, tracing the human race from birth to obsolescence. Sacred geometry and ominous CGI intertwine with a retelling of the story of Noah to illuminate the illusion of authority and the nature of autonomy in the contemporary digital sphere. Featuring parking meters by master animator Jeremy Fernsler and a breathtaking score by Edward Kurland. The DVD version of Rubicon contains additional interactive material in the audio and subtitle tracks. Selected Screenings: Athens International Film and Video Festival, UFVA 2004 (Honorable Mention), Dallas Video Festival, NewFilmmakers at Anthology Film Archives

Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music. Ideally, the film should be projected on a 30" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also

Short film by Mary Ellen Bute

In the 1970s, Director Kim is obsessed by the desire to re-shoot the ending of his completed film Cobweb, but chaos and turmoil grip the set with interference from the censorship authorities, and the complaints of actors and producers who can't understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece?

In December, 1941, using music by Stravinsky, this film provides a reaction to the Japanese attack on Pearl Harbor. An egg is smashed by a hammer; red color with white and then blue dominates the frame. Blue paint runs; small bulbs float. The dark colors spread. White, red, blue, and black dominate the frame. Then comes fire. The bulbs burn and break. A broken bulb's filaments are exposed.

The "bleared eyes of blue glass" in the title of this experimental short expand on a verbal image from Virginia Woolf's novel The Waves, considered the most experimental among the 20th-century British writer's literary works, from which the young filmmaker took inspiration for his film, borrowing passages and visions to explain his own understanding of what cinema is. A film that plays with water - precisely - and light, and yet in a very dark b&w lit up by rare flashes of colour, making a journey in the night in which the shadow of a man gradually acquires substance.

Exploration of the territory in a delirious time-space journey through the largest Megalopolis in America.