Kingdom of the Blue Whale

Visions of the Sea is a glimpse into another world. Behold a dazzling variety of shapes and a rainbow of colors as you meet an amazing assortment of creatures-from tiny, single-celled organisms to massive mammals, from the beautiful to the icky. Travel more than a mile and half underwater where living fossils thrive, then experience the thrill of breaking the surface with a humpback whale. Float through hundreds of thousands of jellyfish as if in a dream and join a herd of hammerhead sharks on the hunt. Tour the architectural artistry of coral like an underwater tourist, so mesmerized you will find yourself falling for the camouflage deceptions of the cuttlefish. Featuring the underwater photographic artistry of Al Giddings, the American Cousteau, stunning imagery is paired with informative narration and a soundtrack that embodies the eclectic rhythms of life in the ocean as it moves from big band to classical to new age.

The romance of a rancher's niece and a rival rancher's son parallels that of a stallion and a mare.

That infamous whale is bigger, badder and a whole lot stronger in this sci-fi reimagining of Herman Melville’s classic tale of the battle between man, sea and sea creature starring “Xena” alum Rene O’Connor as the (traditionally male) narrator. But the boat — now a high-tech submarine — is also bigger, and Capt. Ahab is as determined as ever to settle the score and take down the mighty sea mammal that maimed him.

A horse with great potential is reluctantly sold by the breeder and by chance passes through multiple hands who do not treat him well.

Made entirely on Roger Wagner's HyperStudio software, Chris Marker explores set theory, using Noah's Ark as an example.

Chris Marker’s Bullfight in Okinawa is a bizarre, 4 min documentary that introduces viewers to Japan’s subterranean past time of bullfighting. Part of Markers five-film “Bestiary” series, Bullfight employs observational documentary techniques and, in particular, Marker’s camerawork is impressive — tight framed shots, free-hand pans, and quick zooms all contribute to the film’s urgent sense of tension — and, if it weren’t for the suspense inducing music, this short-gem would be damn close to pure objective documentary cinema.

A young man, who served as a peacekeeper in Bosnia and Herzegovina for a few months during the war, recounts his experiences. Throughout the film, we only see his face filmed in close-up, along with a few photos. The interview acts as a strong testimony to the failure of the international community in the Yugoslav crisis.

In 1964 Film Culture magazine chose Andy Warhol for its annual Independent Film award. The plan was to show some of Andy's films and have Andy come on stage and hand him the award. Andy said, no, he didn't want a public presentation.

Velvet Underground's first public appearance.

During the summer of 1966 Jonas Mekas spent two months in Cassis, as a guest of Jerome Hill. Mekas visited him briefly again in 1967, with P. Adams Sitney. The footage of this film comes from those two visits. Later, after Jerome died, Mekas visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. Other people appear in the film, all friends of Jerome.