A musician cricket fell in love with a beautiful Butterfly. But then a fat Beetle appeared and began to lure her away with his riches.

Located in Ardmore, Waterford, Saint Declan’s Well dates back to the 14th century. In this film, the viewer is shown parts of the oratory and Saint Declan’s tower, but perhaps the most interesting is footage of a man and a woman walking underneath Saint Declan’s stone. Legend has it, on the feast day of the saint (24th of July) pilgrims would crawl under the stone as a cure for arthritis. However, the mythical tale also warned that the stone should not be approached by the unworthy, as they risked getting stuck and trapped for their sins.

As future cinema owners, the Horgan Brothers had the foresight to know any event that attracted enormous crowds was worthy of filming. From 1917, their amateur newsreel The Youghal Gazette was shown in The Horgan Picture Theatre, and people from the locality would come to catch a glimpse of themselves on the big screen. This footage of church goers leaving Sunday mass and walking down the church steps in Youghal, is one of the finest examples from their collection and vividly illustrates the broad strata of society that came to worship.

The Youghal Clock Tower is a light-hearted and playful exploration of the possibilities of animation in its infancy. In this short, the well-known landmark is depicted dancing into frame as the clock gate comes to life, spinning and dancing through the main street of the Cork town. It is likely that James Horgan was one of the earliest animators in Irish film history, as he experimented with film production techniques, including stop-motion animation and the use of models, as well as retouching still photographs.

A collective farm agronomist was dismissed and expelled from the Party by the district CPSU committee. Disagreeing with this decision, the agronomist appeals to a higher Party instance. The secretary of the regional committee comes to the collective farm to sort out this complicated case.

This film tells the story of the patients of the Lviv Regional Psychiatric Clinic who are treated with art, rehearsing Shakespeare's play Hamlet, and its main idea is to reflect on us ‘normal’ people, our lives and actions in the ‘normal’ world.

David Sims' impressionistic National Film Unit short film explores the responses of four NZ painters to a landscape illuminated by a distinctive light, but yet to feel the full impact of human settlement. The award-winning film examines Brent Wong’s floating architectural shapes, Colin McCahon’s religious symbolism, Toss Wollaston’s earth-hued palette, and Michael Smither’s hard-edged realism. Their works are taken from safe gallery confines and moved closer to their subject matter, while the words of writers (Katherine Mansfield, Charles Brasch, Bill Pearson) provide another angle.

“Metamorphism” is a creative reflection on resource extraction and its effects on the environment. It focuses on mining slag waste from the Blinman Copper Mine in the Northern Flinders Ranges of South Australia, as a way of imaging the incredible forces human society and technology exert upon the earth. This project continues a long-standing collaboration between media artist Grayson Cooke and sound artist Dugal McKinnon, investigating the relationship between geological “deep time” and the technologically amplified time of the human.

“Deforest” is an art/science project that combines environmental critique with material enquiry. In this project, sulphuric acid – a highly corrosive acid that burns to the touch – is used to dissolve photographs of old-growth forest from subtropical Queensland.

The “after | image” project is about personal and material memory, and about archival preservation and dissolution; it features time-lapse macro-photography of photographic negatives being chemically and physically destroyed.

In a certain kingdom, the boyars decided to marry the old tsar. He chose a bride from foreign lands and sent three fools after her - in the hope that they would not be able to fulfil his punishment...

Above the tip of Cape York, beyond the northernmost point of the Australian continent, are the Torres Strait Islands. The economy here is based on home gardens and pearlshell fishing. The culture, with its basis in music, dancing, and ceremony, provides a striking contrast to that of mainland Australia. This film, shot in the late 1960s, shows how strongly old traditions still affect Torres Strait Islander people, even though they also have most of the trappings of modern life.

A docudrama that traces the story of Cecil Holmes, a young radical filmmaker at New Zealand's National Film Unit, who was fired because he was a member of the Communist Party.

The story of the carpenters’ dispute of 1949, in which the Communist-led Carpenters Union was de-registered by Peter Fraser’s Government in cahoots with the Federation of Labour.

Kevin McManus, a man at war with his wife and his life, seeks refuge in the peace of the Christchurch Public Art gallery, but instead is driven to psychic meltdown by the haunting bird-people in Bill Hammond's extraordinary painting The Fall of Icarus. Shaken by his experience, McManus decides to go in search of Hammond's pictures and explanations of them. The artist's unavailability restricts him to questioning and observing those whose lives have also been affected by Hammond's paintings.

One of the few tinted silent films in the Archives New Zealand holdings, this film was part of a series completed by the NZ Government Tourist and Publicity Department. This episode depicts weaving with harakeke and the creation of a piupiu.

The film was realized according to the formulaic concept “TAM 4/71.”

“In Germany, I bought an old 35mm Debrie camera. I spent several weeks working with this camera and found that its mechanics were marvelously thought out and that the way the camera was made was proof of the skilled craftsmanship back then. I developed a procedure which also allowed me to use the camera as a printing machine. The printing process is not so different from the filming process, as far as the transport of the film goes. ... It was a lot of fun to try to exhaust the possibilities of the Debrie. It was not only the mechanics that were exciting, like the works of a wonderful old clock, but the numerous possibilities for the realization of the second part of the film, too. This consists mainly of what has already been shot, but offers at least 50% more experimental manipulations in the printed part.” (HHKS)

Dorian Supin’s third documentary film of Arvo Pärt steps closer to the composer, showing him in a domestic setting as a composer, husband, father, and grandfather. The title “Even if I lose everything” refers to an entry in Arvo Pärt’s musical notebooks, which the composer browses in the film, together with Immo Mihkelson. The musings and recollections inspired by the notes in these journals, in parallel with domestic scenes, shed light on the composer’s life and creative philosophy, painting a personal, in-depth picture of Arvo Pärt. The film’s soundtrack includes excerpts from Pärt’s works.

The film was shot between 4 and 7 July 1914 during the Tartu firefighters' anniversary celebrations. We can see the lineup, Russian Orthodox priest blessing the men, Lutheran priest blessing the men, parade, demonstrations, and in the end, a festive dinner.

Though the title of the film has not survived, the title cards have remained intact. The film takes its audience on a tour of the newly built theatre building, designed by Finnish architects Armas Lindgren and Wivi Lönn. The two-winged landmark was built as an opera house and a concert hall. At the end of the film, the actors and actresses of the time are showing off for the cameraman. Whether Johannes Pääsuke is the author of this film is questionable. It is possible the Parikas brothers, photographers from Tallinn, actually shot the film.

In the film, one can see the Czarist town life at its peak. The film, with a positivist take, seems to be shot in the early spring of 1912. One must appreciate the views seen in the film since most of the buildings were either destroyed in the war, demolished, or re-built.

Snow-covered streets in Tartu. Snow removal. Views from a moving train of the snowplows and snow removal.

The White Flower Day in Tartu, organized to support tuberculosis patients, takes place on May 3, 1913 at Raeplats, where white paper daisies that can be pinned to the chest are sold and donations are collected.

Film about historical and architectural monuments. Views of Tartu (ruins of the Cathedral, Inglisild, etc.), Vooremäe hillfort, ruins of Helme, Härgmäe, Karksi castles, Tarvastu church, views of Viljandi (castle ruins, lake), views of Paide (church, castle ruins, etc.), views of Narva (Ivangorod, Puusild, Hermann Castle, Joala waterfall, Kreenholm factory), rafting logs on the Narva River.

With a few exceptions, the film consists of picturesque vistas, as referred to in the title. What brings the snapshots to life is the beauty of nature — the springtime Southern Estonian landscape. The film introduces Vällamägi, Haanja, the 318-metre Munamäe Hill, Lake Vaskna, River Võhandu, and the ruins of the Vastseliina Bishop Castle. The end with the church of Räpina is somewhat out of context.

An eccentric musical about what awaits a young honest man who does not want to enjoy the benefits of a "profitable place", despite the fact that he has a young wife, a very persistent mother-in-law and an influential uncle.

Painter to the courts of Europe and friend of Marie-Antoinette, the life of Elisabeth Vigee Le Brun is captured here with excerpts from her memoirs and recreations of the tumultuous events of her time. Her early life was spent in France, until her exile at the time of the French Revolution.

In part 2, we continue the story of one of the most acclaimed artists of her time with the dramatic events of Elisabeth's life after her exile from France, including her long sojourn in Catherine The Great's Russia, and her eventual, inevitable, return to France, now under the rule of Napoleon.

It was a picnic.

Ulaanbaatar was established as Urgoo in 1639. Founding father of the capital was Zanabazar, Buddhist Leader of Mongolia at the time. Until 1924, the Capital city had been home to the religious leaders of Mongolia. Under Soviet influence however, Ulaanbaatar underwent a dramatic change to become a modernized city.

Using footage from socialist era Mongolia, Nomadtitude deals with the transition of the traditionally nomadic people to a lifestyle of urbanization. A changing of roads throughout the years and the movement of people from all across the country to the cities. A timeline of changing physical and spiritual paths. Primary instincts of the nomads, such as having a deep respect for natural surroundings, were forcefully replaced by socialist dogma and, later, capitalist machinations. This work presents the roads taken and not taken by the Mongolian nomads up until now.

About an international detachment that fought during the Civil war in Donbass.

A story about how all living things are interconnected. A haiku film about the unity of all things.

A documentary comedy about a couple who figures out their summer plan: biking through France for three months, following the diary of Andrzej Bobkowski, a Polish writer, who did the exact same bike trip back in the 1940’s. They film their research first but end up questioning who they are for each other. Life could be so beautiful if there wouldn’t be fears, wrong expectations, and all kinds of frustrations. A road trip about a couple fighting for who they want to be told with a lot of humor.

Mexico revisited, seen in short takes, from the point of view of the women.

It can be so bad to be alone that even an artificial heat is better than none.

As sad as it can be to be trapped in a TV show, singing words you don't even know the meaning of.

The innocence of creating a mirror, only to repeatedly crush it underfoot.

“This is a video of musical terror where I superficially — this is the beginning of a larger project — l look at one of the Mexican phenomena that horrifies me the most: internalized racism, being ashamed of one's own roots. The fantasy of waking up white.” (Ximena Cuevas)

Erase the 1940s. The desire to better appearances. To try to record a love story. It's in this way that a facial can become the biggest remaining pleasure.

After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention.

"I made this video after assisting at a conference where the artists acted like flies in a barnyard. They gathered tropical fruits to make it less disagreeable for themselves." (Ximena Cuevas)

In this antiqued period piece, the morbid star, Lupe Velez, travels to Hollywood, Guanajuato, and Barcelona, seeking her own death.

Wang Bing is chinese and films terrible things such as poverty, injustice, the horror of Maoist repression and does it with empathy and respect . In this portait, facing us and the camera, Wang Bing speaks with us about China and his own cinema.

The Studio Diaries are a series of 100 short films created throughout 2018, each film taking the form of a diary entry shot, edited and released online in a single day. Over the course of seven months the films capture the workings of our daily creative practice, but more than simply documenting, the Studio Diary Series are creative thought in action. Each film is an investigation into the language of moving images, exploring how narrative and meaning are constructed through the relationship between sound and image.

The documentary Moldova 89-91 presents the thread of events through which the neighboring state gained its independence with the collapse of the USSR. Thus, the film features politicians such as former presidents Mircea Snegur and Vladimir Voronin and former Deputy Prime Minister Iurie Rosca, along with many other witnesses and participants in the events of the formation of the Republic of Moldova as an independent state. And, of course, each of them has its own version of history.

A flight under Prague’s Railway Bridge in July 1919 and its tragic consequences: the death of the director of the cinematographic department of the YMCA in Prague.

A story told without words of a young crane who travels far and learns where his true home is.

In Gazing at the Catastrophe, Ali Cherri reflects on how suffering has become increasingly integrated into his daily life. Witnessing of atrocities, Cherri argues, seems to be an inevitable condition of modernity. The knowledge of war gained by those who have not experienced it firsthand is informed exclusively by mediated images found on the internet or in the media.