Cleopatra situates itself in the same relationship to Hollywood as the Warhol/Morrisey films of the period. It corresponds to Joseph Mankiewicz's 1963 Cleopatra, starring Elizabeth Taylor and Richard Burton which Auder's cast watched and used as the starting point for scene by scene improvisation Auder drew his cast from Warhol's ensemble – including not only Viva and Louis Waldon, but also Taylor Mead, Ondine, Andrea Feldman, Gerard Melanga and others.

“Il tocco” means not only “touch”; it can also mean a small quantity, a single brushstroke in painting, the striking of a bell or of piano keys. The surroundings meet the eye. Direct touch releases an interior impulse. Surfaces open to states of being. Out of this encounter arises the image. From the images, an inner place. In the film as in consciousness, the distances of spaces and bodies, the layerings of time conjoin. A house, a city in Italy, traffic, and the movements of people are visibly filmed in the present. But the images embrace a living continuity. The light of one day links my eyes to the eyes of someone who lived here, in the same city, two, three, or five hundred years ago. On a church wall, a sculptor has left an arched curtain in stone. Through the rhythm of its inward and outward foldings, the film becomes “still.”

An artistic free-form exercise in storytelling using stylized photographic images juxtaposed in rhythmic variation.

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

Pola Weiss’ first videoart. Abstract, psychedelic visuals with Chic Corea soundtrack.

A story of "La Pasta", a renowned prima donna, and her extraordinary rival.

Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola (Raffle), toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.

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

Cuerpos de Papel is a dense visual meditation on sexuality, loss, jealousy, and intimacy. It uses rich sensual images to weave a digital portrait of an intimate, erotic, and emotional past. As the images transform, we are left with a slippery sense of intangibility and delicacy.

A soft-focus close-up of mouth and lips is set to the sounds of lovemaking. A soft-porn video on how easy it is to get porn.

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

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

“In Devil in the Flesh, I look at myself in the mirror, but through the desolate hole of a mask, the circle is broken by the sharp biting angle of a telephone that keeps ringing. I take up the spoon again. There is no form of escape from everyday boredom. Every grammatical punctuation constitutes a search for a break in reality or an intensified state.” (Ximena Cuevas)

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.

Ximena Cuevas dissects an upper-class wedding in Mexico City where the guests fantasize about the exotic faraway dreamscape that is their “Hawai.”

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)

"The life of objects intrigues me. Apparently inanimate, they adopt the souls, actions and lifestyles of their keepers. Here, a bed testifies to what goes on behind the closed door of a decent family's bedroom." (Ximena Cuevas)

A video poem about the nature of social relations and mass media, Half Lies exposes the seemingly innocuous ways we distort the truth. Harmonious families, trade treaties, and current events are among the mediated realities that Cuevas interrogates. Half Lies makes the viewer question the half-truths we encounter daily. The video walks the haunting gray area between documentary and drama, creating a world that is both shockingly grotesque and startingly authentic. Using mass-mediated images, animation, image manipulation, and fantasy, Medias Mentiras interprets the chaotic landscape of politics, urban chaos, and everyday existence.

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

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.

A film of darkness interrupted by fleeting fragments of Super 8 film, evoking a series of mysterious landscapes and eerie encounters in the foggy countryside. Mist, sheep, blood rituals and a film crew dissolving into the scenery.

A young man disappears amid talk of violence and demagoguery, leaving behind an obscure cache of letters, postcards, and notebooks.

In all of his work, Bussotti makes frequent reference to the body, to sexuality. This to remind musicians — especially classically trained ones — that they are not body-less angels, that they are not just their musical thoughts, that they are still, in the last analysis, flesh and bones. Thus the erotic is not for shocking, but to stress that making music involves the body in a very direct way.

Small nightly monochrome silent landscapes to observe and enter another time to feel how everyday transforms through the gaze.

Montage of different sequences reconstructing the three-color additive synthesis process patented by Audibert, French inventor who began researching natural colors in cinema from 1909. The process used in this film dates from 1923 and consists of capturing three photograms at the same time, through three lenses containing color filters.

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.

Mr. Salloum found a cache of deteriorating commercial film reels, trailers and commercials in an abandoned theater in Beirut in the 1980s. Many years later, inspired by the material as a historical marker of popular media culture during the era of the civil war and a document of western orientalism, Ms. Ahwesh edited some of the fragments together. Beirut Outtakes is a small tribute to endurance, the history of decay and an examination of the export of American product.

Water flows under two bridges, or so it may appear. Since the advent of the industrial age, there has been a heated dialogue regarding the relationship between earth's natural environment and manufactured human spaces. Watercolor (Fall Creek) exists between these necessary worlds, as time unfolds and remains difficult to comprehend.

Follows a young woman as she travels through the strange, surreal passages reminiscent of Dante's Inferno.

Through the prism of his own local position, the young artist views the circumstances, conditions, and rules of the game - how to become a successful artist.

A television set finds its way into the life of a young couple.

A story about a man who appropriates other people’s knowledge and achievements and erects a monument to himself, believing that this is justified and necessary.

Animated film based on the poem Barbara by Jacques Prevert.

Raoul and Beatrice’s eyes meet in the Montreal metro. This sets off a chain of events that will affect the whole city. He's a rock star activist on a secret mission, she's a bohemian who wanders the streets at night, handing out books to the homeless. Every Thursday evening, she meets Constance and Eugène in their small candlelit apartment, for their weekly reading ritual. Constance broadcasts her live-sampled, politically conscious sound art on an independent radio station; Eugène has been working on a novel for years, whilst trying to shut himself off from the outside world. The three young friends all dream of their own poetic revolution, inspired by the situationists, on whom Raoul has modelled his persona.

Stevenson‘s video work is based on an account given by the bodyguard of General Omar Torrijos. The General was the de facto leader of Panama from 1968-1981, and is perhaps most well known for signing the Torrijos-Carter treaty with the US in 1977 which (eventually) secured Panamanian sovereignty over the Panama Canal Zone in 1999. The script for the work is based on the observations of Torrijos’ bodyguard (a mathematician known as Chu Chu) and discusses events surrounding the exiled Shah of Iran’s stay on the island of Contadora. The narrative is interspersed with various asides discussing theories of probability, hence the title. Stevenson’s work hits on the notion of ‘calculation,’ and the cold and strategic approach to foreign policy which can be argued was (and still is) behind so much international intervention, particularly in the region of Panama.

An old man meditates by the sea. A little girl is building a sandcastle. A young couple is frolicking on the beach. The day fades into the evening, as do the memories of youth. Pika päeva ehavalgus (The Light of a Long Day) is a poetic short film about the course of life, shot on 16mm.

An experimental and critical view on the decadence of Honduran society. It practically has no narrative structure, as it plays out as a day-in-the-life-of the eponymous Ángel, a kid who's a shoe-shiner.

A world journey via fax of a self-portrait.

A work on the perception of space, where a video of a motionless figure in a room correlates four different camera positions with four different synthesized tones. We see the inert artist and how she calmly faces the cameras head-on.

Painted pictures of castles, knights and flowers to a poem by Karl Vennberg.

In the seedy domain of Miami’s criminal underbelly, a seasoned hitman embarks on the relentless pursuit of his next target.

Travelogue depicting a road trip from Stockholm to the Berlin Wall. The film is mostly shot from a car window but includes found footage as well.

In the film Ultramarina, Edefalk has placed paintings and objects in the ocean to show describe the infinite space.

An art film contrasting a cat and broken glass with a masked naked woman and her lover.

An animation based on pixels from an image taken with the Hubble telescope, which is in orbit 600 kilometers above the Earth. Pixels from as far away from Earth as humans can see.

Sound film experiments by Swedish engineer Sven A:son Berglund. The sound strip, unlike sound film today, covers almost the entire film strip.

Landscape is Söderquist’s first minimalistic film. Together with Passages – Portrait of a city (2001) and Labyrinth (2013), it forms a trilogy exploring space by means of the landscape and the city. The slow camera shots show the inertia of nature and the temporality of thoughtfulness. The film is cut in motion to give a coherent structure of movement, a kind of course of events, through a multifaceted landscape of rich ferns, swaying treetops, winding roots alternated with reflections in a rippling stream. Landscape is a focused and tightly formed panorama, whose masterly projection of natural sound and cyclical construction are manifested in seasonal color- and light variations and in flowing water.

Le génie civil consists of numerous etchings and photogravure prints from an engineering journal, illustrating the advancement of industrialism in the late 1800’s. The filmed illustrations are allowed to speak for themselves as still images during a prolonged cinematic time, a kind of viewing time. In a reciprocal and dense interaction with a collage of noise from trains, rain, thunder, a ticking clock and organ music, the material is brought to life and the narrative of the film slowly emerges. Because the images in Le génie civil are taken out of their original context and placed in another time and space, they link the past with an ongoing present.

In Söderquist's first film [I frack] In Tuxedo, playfulness and improvisation are combined with absurd humor. An artist steps into an empty studio and begins assembling objects into a tree-like sculpture. The sculpture is adorned with small white paper clouds, puppets and undefinable items; all the while, the studio fills up with new things: a suitcase, a mirror and formal attire. The artist, now wearing a top hat and tuxedo, paints the paper clouds and the wall in a frenzy of activity, ending with his sitting exhausted in a corner surrounded by the mess he has created. The growing chaos, the various layers of narrative and the music of the soundtrack, which was improvised and recorded live during a viewing of the final film cut, interact in counterpoint.

On either side of a life, find a library before and an auction after: consider these figures as the sites for a collection created for the purposes of division and dispersal. From Leonardo da Vinci to Jules-Etienne Marey, practitioners of a certain mode of transcendental empiricism turned repeatedly to combinations of words and images describing the flight of birds. This film-as-bibliography of William Byrd’s library finds its name and shape within a single volume from that collection: Athanasius Kircher’s 17th century encyclopedia, The Great Art of Knowing. Herein you find tangled texts and crossed destinies, filled with figures at once buried deep and tossed high by history, lined with traces of Evelyn Byrd’s hidden romance. Love finds purchase between tightly shelved volumes. In the spaces between the letters. In the lines themselves. An antinomian cinema seems possible; a gentle iconoclasm? The image is always backwards in a mirror. The story unfolds slowly

A Temporary Arrangement began as a simple experiment: to study the human form suspended in water, floating down a river.

Explores the profound effect that his father's blindness had on Rembrandt and the way this influenced his work. "R" deals with the shock of 'dissatributation', a correspondance through Ben Israel between Rembrandt and Milton, and the transcendental quality of light both in Rembrandt's technique and the subject of many of his paintings. It also emphasises the powerful emotions transmitted through his work.

“Call them spontaneous or occasional films. I did not know if I would show this publicly when I filmed. The gift was Luke Fowler suggesting that I film his and Corin’s first child, Liath, while I visited them in Glasgow. The images are left in the order of filming, and the editing is only a few excisions.” (RB)

Late afternoon quiet and a silent figure seated on a bench; the old factories and machinery, warehouses and train lines are part of a Greece, now disappearing.

My starting point was a question about how the places where I have lived have influenced how I see. I returned to one or two locations in Berlin that I had filmed for Diminished Frame in 1970. One was the milestone opposite Schloss Charlottenburg. In 1970, the milestone stood as a somber sphere topped by a Prussian spike, filmed in black and white; now I see it as a golden globe surrounded by regenerate leaves with a view to Fortuna. I also found the statue that I had filmed in Brooklyn in 2002 standing in Leopoldplatz, Wedding. Filming in Berlin and Massachusetts: The turning pages of a child’s version of the Odyssey and the site of a Korean War monument in my hometown, Weymouth, suggest different sides of the same subject: Nostos* or homecoming. The vision of Greece, first awakened in my childhood, remains a source.

"L'Architecte de Saint-Gaudens" is a musical and choreographic film. An architect sings, while he strolls about, about the buildings he constructed in a small village in the Pyrénées. He is accompanied by the inhabitants, who sing and dance in their homes, workplaces, and places of study. A dialog takes shape between the architect and the population about his work, its paradoxes and its rules.

Different stages of paintings made with ink. The ink fuses, spreads.

Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive

Directed by French author Geroges Perec, Les Lieux d'une fugue is an autobiographical account of the writer's experience of running away from his aunt's house at age 11. As much a meditation on the streets of Paris as it is personal narrative, Les Lieux d'une fugue examines how Perec's verbal games play out alongside a movie camera.

An experimental film in which time breaks again and again at the moment of death, where the seconds become whole lives condemned.

Shot entirely from a boat on a lake, this evocative film confronts the viewer resolutely with his or her sensitivity for the moment. Surrounded by sounds of animal life, both from the lake and the neighbouring forests, this film takes us through the seasons. Sounds of water, the wind and a human presence.

Heliopolis Heliopolis was the name of a metropolitan simulacrum devised as a training tool for urban planning at the NoUn School of Architecture in Egypt in the 3rd century BC. Heliopolis Heliopolis was created by an insurgent priest (whose name has been lost) as a tool to train students in the design of a revolutionary city meant to surpass the ancient city of Heliopolis. This in spite of the fact that the priest and his students appear never to have visited Heliopolis and based their model exclusively on texts and secondhand knowledge. Eventually this became a source of pride within the school and descriptions of Heliopolis gained a fantastical nature, becoming both meticulously elaborate and wildly implausible. Heliopolis Heliopolis is a cinematic interpretation of the simulacrum and the hypnotic, trance-inducing ritual connected to its use.

The filmmaker René Perraudin made five comedic short films with Otto Sander in the leading role and knits them into a feature film.

The Eastern House is a video that rereads some key names and some key sequences from the film history: Antonioni (Blow-up), Coppola (Apocalypse Now), Don Siegel. As well it re-articulates the body and conceptual happenings performed in the Eastern European context. The video is a homage to Nesa Paripovic's happenings and body actions from the 1970s in Belgrade. The text is a political intervention in the field of theory regarding the question of global capitalism and the radical position of technology in the cyberworld with a clear reference to a cyberfeminist attitude and positioning. In this respect, the question of sex and empathy in the cyberworld is raised as well as the ethical and political questioning of cloning and hybrid identities. One of the key moments in the video is the re-reading of Bush’s US war against Iraq, 2003.

A story of fragility, sexuality, monstrosities and geographical confusions. Everything, everywhere is the slogan of the nineties, a confusion of bodies, concepts and strategies, a kind of out of joint situation for the subject. And we find ourselves in all the media, in all the bodies in all the possible spaces at ones, but this deadly dance is not innocent. The video consists of the main part in which wives of the so-called totalitarian leaders as of the Rumanian dictator Cauceuscu (Elena) and of the former Serbian leader Slobodan Milosevic (Mirjana Milosevic) are forced to dance. Focused on the portrait of Mirjana Milosevic (The story of Mirjana M.) a kitsch melodramatic Balkan saga of power, drama, pop-folk elements and evil/demons is constructed. The apathy of feelings is caught in the dramatic tango that is slowed down for the camera eye.

Inserts from neo-avant-garde films by Emir Kusturica, Zivojin Pavlovic and Zelimir Zilnik made in the so-called Yugoslav film period of the 1970s and 1980s are re-read, re-worked, re-coded in a video story contemplating the role of different media in the war in Bosnia and Herzegovina in the time of world internet communications, cyborg stories and world spread computer nets. If it is true that we all part of a giant hypertext, coded by adapted and shortened CD-ROM histories, then why not try to display the video picture as hypertext, as the one which will show the hidden spots of our history and present?

Originally filmed in 16mm in the remote Cyprus landscape, Chapters is a lyrical series of meticulously staged scenes, in which Epaminonda transforms her home country into a backdrop for a multitude of mythological identities with underlying narrative elements of love, longing, afterlife, and ritual. Epaminonda draws together a spectrum of cultural influences such as the frescoes of Renaissance artist Fra Angelico, the films of Sergei Parajanov, Pier Paolo Pasolini, and Alexander Jodorowsky as well as the Japanese Kabuki theatre and Dante’s Divine Comedy. The fixed frame of the camera shapes the film as a continuously evolving, never-static series of ‘pictures’ or ‘tableaux’. The viewer is led into an associative journey that is constantly altered and recombined by the action of chance, time, and the viewer’s gaze.

Trying to approach the city – but constant rejection

Learning to see our surroundings

Light, clouds and fog.

Reflections of snow