The installation THE SILVER AND THE CROSS by media artist Harun Farocki examines the 1758 painting "Depiction of the Cerro Rico and the Imperial City of Potosí" by Gaspar Miguel des Berrío (in the Museo Colonial Charcas de la Universidad San Francisco Xavier, Sucre, Bolivia). Farocki uses the medium of video to dissect the painting and its historical layers. In addition to artistic aspects, Farocki also looks at historical context and colonialism.

During the second world war two friends work at a remote railway station in the steppes. When one dies the other’s request to bury him according to Islamic rituals in a sacred place is denied by the Soviet authorities, who use that place for rocket testing.

Since the late 1960s, the almost annual productions of Richard Foreman’s Ontological-Hysteric Theater have been among New York’s artistic highlights. A legend of the avant-garde theater, Foreman is also a passionate film fan, whose taste ranges from American avant-garde to Manoel de Oliveira. ONCE EVERY DAY marks his first foray into feature filmmaking in 35 years. Highly visual, complexly edited and without a traditional narrative, the film zeroes in on a group of 25 people acting out a series of semi-ritualistic behavior patterns. But their eccentric impulses are aborted in unpredictable ways with each attempt at action or development. According to the director, “The film slowly evolves a time-mosaic of reformatted consciousness.” Longtime admirers of Foreman’s work will see an intriguing adaptation of his unique theatrical style to the cinema. And for everyone else: Welcome to the extraordinary world of Richard Foreman.

Quite possibly Foreman’s strongest digital video, NOW YOU SEE IT NOW YOU DON’T brings together a variety of different elements, including excerpts from Foreman’s own public talks about his work, a 1984 sound recording of his French-language theatrical adaptation of Kathy Acker’s "My Life My Death by Pier Paolo Pasolini," text from Leo Charney’s book “Empty Moments: Cinema, Modernity, and Drift”, and music from John Zorn and John Cage. These materials are integrated into a typically dense and confounding aural, linguistic, and visual web, one that’s in many ways like a filmic analogue of his theater work. But NOW YOU SEE IT NOW YOU DON’T is distinguished by the addition of various kinds of image processing, a liberal and eccentric use of onscreen text, and an uncharacteristically personal, reflective tone

Documentary follows the life and travels of a group of professional rodeo cowboys.

Taking advantage of a new government education program, a farmworker trains for a better-paying job as a welder.

Documentary about teenage life in the mid-60s.

Saturday Morning by Kent Mackenzie

“In-Side-Out” is the debut film by US beat poet George Moorse, a wildly colorful pop poem. The film critic Enno Patalas described “In-Side-Out” as a “fantastic abracadabra and erotic delirium” and considered it the best West German film at the 1965 Oberhausen festival. “In-Side-Out” was also the LCB's first film production: the cheerful and colorful kaleidoscope of romantic love, told as an associatively swirling sequence of images.

ZERO IN THE UNIVERSE is a comedy, a cryptogram–a message in code to the viewer. Who is Zero? What universe? What is the opposition of Zero and his arch enemy, Steinmetz? What does it come from, and where, if anywhere, does it go. The film presents abundant clues, but the answers are never stated. –J. L.

The story centers on the Roman merchant Piacchi, who raises the foundling Nicolo after the death of his son and bequeaths all his possessions to the young man. However, the adopted son turns against Piacchi and his wife.

Experimental fiction film about young people taking on different creative tasks.

In a musical pop horror slapstick crime grotesque a broker wants to sell a group of hippies a haunted castle.

Two surveyors come under the spell of the beautiful Vampira. Vampira then celebrates occult magic rites with her new companions in her castle with the Alder Queen Belladonna, a sorceress, a hunchback, and a werewolf.

Munich Film Festival 1983.

Peter Zadek's 1988 production with Susanne Lothar, recorded at the Ruhrfestspiele Recklinghausen in 1991.

A comedy directed by George Moorse.

Kurdwin Ayub captures the intimacy of a trip she made with her father. Family visits alternate with real estate tours searching for an ideal apartment: her father's will, as he's planning to retire, is to find a place so he can finally return to that stateless territory he proudly calls "homeland".

Adnan is obsessed with going to his ex-wife's housewarming party. Unfortunately, he isn't invited.

Sitting on her bed, Kurdwin Ayub wears a babydoll and hugs a blanket in her arms. She speaks to the camera as if addressing her ex-boyfriend. How to react to his eyes staring at us?

After surviving the entrance exams, Sakuta Azusagawa has finally enrolled in the same university as his girlfriend, Mai Sakurajima. He is gradually getting used to the unfamiliar environment as he attends student gatherings and makes new acquaintances. Everything seems to be going smoothly until Sakuta's friend and Sweet Bullet idol group member Uzuki Hirokawa begins acting out. With fellow Sweet Bullet member Nodoka Toyohama pleading for his help, Sakuta realizes that he has stumbled upon another case of the inexplicable Puberty Syndrome-Uzuki is feeling pressured by the sudden surge of popularity and rumors of a potential solo career. While Sakuta searches for a solution, another occurrence of Puberty Syndrome gradually emerges from the shadows.

Rory and Cobby are unlikely partners thrown together for a heist. But when it goes awry, they team up with an unusual accomplice — Rory's therapist — to outrun police, backward bureaucrats, and a vengeful crime boss.