Amy

Black Hole Radio is an installation that consists of taped confessions of callers of the New York City Phone Confession Line and video images. The Phone Confession Line is based on anonymous callers ringing to confess on things they had done or thought like adultery, theft, murder or regrets. Thereafter anybody could call and listen to the confessions. Although making a confession was free, listening to a confession costs money. After Cohen got his hands on the confessions, he used them as an audio heartbeat to accompany video-images of every day life in New York City he had taken over the years. This installation is a portrait of the city with its dark secrets, hushed voices and nocturnal images. In this way Cohen tries to bring across an experience to the viewer that relies on absence, waiting and the effort to hear something in the dark.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

Szirtes's masterful experimental work is a dazzling composition of several years of filming within an industrial macro/microcosm, an abstract model of revolution and the beauty of daybreak.

In collaboration with Lomo, an Austrian camera company, and Mubi, a global film website, Weerasethakul was invited to make a work to launch the new LomoKino, a portable motion picture camera. Ashes juxtaposes the intimacy of his daily routine with the destruction of memories and his observations of the dark side of Thailand’s social realities.

In 1965 actor and hopeful first time director Titus Moede befriended ‘Preacher’ of the outlaw motorcycle club the Coffin Cheaters while looking for a project. He soon realized that this was exactly the subject he had been looking for.

The results of serious traffic accidents caused by careless driving are displayed. One of several Driver's Education films produced by Highway Safety Films, filmed at actual auto accident scenes and consisting largely of color closeups of mangled accident victims.

From Dr Who to The Dark Side of the Moon to modern day dance music, the pioneering members of the Electronic Music Studios radically changed the sound-scape of the 20th Century. What the Future Sounded Like tells this fascinating story of British electronic music. What The Future Sounded Like mixes experimental visual and sonic techniques with animation and never-seen-since archival footage. A sonic and visual collage, this documentary colors in a lost chapter in music history, uncovering a group of composers and music engineers who harnessed technology and new ideas to re-imagine the boundaries of music and sound.

"In his description for A CHILD'S GARDEN, Brakhage quotes from poets Ronald Johnson and Charles Olson (and cites Johnson's poem "Beam 29" as inspiration). But the film also vaguely calls to mind William Blake—more perhaps for his art than his poetry: there is both a sense of darkness and of mystical transport in Brakhage's images. The first film in the loose "Vancouver Island" quartet, Brakhage films locations around the British Columbia locale where his second wife, Marilyn, grew up. He films land, sea, and sky and intercuts frequently between them. Shots are often out-of-focus, to accentuate color and light; they are hand-held, upside down, and fleeting. All of this is no surprise for those who know Brakhage's work: anything and everything is valid, as long as it works." - Cine-File.info

"I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. One day of the Cassis port filmed in one shot." -JM

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn't illustrate the image and the image shouldn't absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere.