A short film in which a director's voice appears to be directing all the action on a busy London street.

A man find A himself haunted by a mysterious black tower that appears to follow him wherever he goes.

A poetic view into the relationship of immensity between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a spectral presence.

This work is the result of a montage of the director's filmed diary, material he has filmed for nearly ten years.

Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.

The human eye, the human form, the human face: these are the three central images of this avant-garde collage and kaleidoscope of shifting and fractured images, changing colors, and pulsing rhythms. Near the end, a tree appears briefly, and birds fly - first white, then red and blue. Celtic knots morph from one to another. The images become Rorschach tests although the mood, driven by the rapid changing images and the soundtrack, remains frantic.

An animated collage of the battle between Napoleon and Kutuzov, set to Tchaikovsky’s 1812 Overture.

A man repaints his apartment. Through objects, photos, drawings he plunges back into his past. His future seems so dark that he ends up painting the whole apartment in black, including the windows, to absolute black.

This work deals with time as revealed in sound and image, and with natural and subjective time. It follows the structural orchestration of Johann Sebastian Bach's ideas on counterpoint.

This film is about a five-day seminar designed to teach executives how to "sell themselves" better. This course, designed for managers, teaches the basic rules of dialectics and rhetoric and provides training in body language, gesture and facial expression. The aim of selling something has always been a principle of mercantile action. Yet it was only through the marriage of psychology and modern capitalism that the idea of selling oneself was perfected.

Godard blends elements of literature, cinema and other artistic medias from different historical periods in order to make a stance on how words can be subverted and manipulated to many different contexts, sometimes bearing a similar significance to the original material or even creating an alternate context.

Precisely edited to the start-stop rhythm of a martial beat and post-punk rock music, Absolutions glories in organized disjunction, juxtaposing images of the artist collapsing to the ground with bursts of wildly scrambled electronic distortion.

Experimental documentary that presents a discussion of the manufacture of glass as a way to explore memory and transformation. Filled with Smith’s signature witty wordplay and elegant visual punning, Slow Glass also quietly ponders weightier issues of urban transformation and the value placed on craftsmanship.

SIGNERS KOFFER is a kind of road movie across Europa. From the Swiss Alps to eastern Poland, from Stromboli to Iceland. Always following the scenery's magically charged contours. Immersing yourself, letting yourself be infected, then travelling on. Roman Signer determines the route that we are moving on and the film improvises along the way. Being on the road also means tracking down the right places. Signer brings them alive using his own personel instruments, brilliantly simple operations full of subtle humour. «Simple» poems being transmitted into space with INSTRUMENTS as gunpowder, fuse, rubber boots, balloons, stool, small table ... and a three wheelded Plaggio. SIGNERS KOFFER is also a journey through the state of mind. A tightrope walk between fun and melancholy. Danger also mental mental danger becomes the stimulus of the senses. Sudden crashes, abrupt chagnes of mood determine the rythm and atmosphere of this cinematic journey.

With I'm a Victim of this Song, Rist takes up the concept of the "cover" version, in which one performer does a version of another's song, and gives it her own twist. Starting with music from Chris Isaak's hit single Wicked Game, she adds her own sung and screamed versions of the lyrics, accompanied by effects-manipulated, diaristic video images. The result is an art-world "cover" of a popular artifact, with a woman's voice reinterpreting the male original, and a vivid illustration of the consumer's claim to own and interpret media images.

Mimi Minus on the escalator of horror. Mara Mattuschka´s alter ego once again sets off on a tour de force of physical renunciation. First she goes into a tumble when the ground is pulled out from under her feet. Caught in a weightless space, she undergoes a strange metamorphosis. Mimi´s body is subjected to unnatural forces and gradually deforms, her skin ruptures and - as if the human shell were only an intermediate stage in the process of evolution - is shed like a cocoon; a reptilian monster emerges.

Exploring the shared language and poetic sensibilities of all animals.

Initial a deep-sea diver is shown exploring a cave. Then a hand as shown handling a gastropod shell.

This video work was made while Rist was still an art student at the School of Design in Basel, Switzerland. It was produced in an unlimited edition and is intended to be shown on a domestic-style monitor, although it may also be displayed as a projection with special permission from the artist. The video depicts the artist, an attractive young woman dancing manically around the room while repeatedly singing ‘I’m not the girl who misses much’. The phrase is an adaptation of the first line of the Beatles song ‘Happiness is a Warm Gun'. Referring to her childhood Rist has said, ‘In my village in Switzerland I had a small window on the art world through the mass media; through John Lennon/Yoko Ono I moved from pop music to contemporary art. In return, I will always be grateful to popular culture’ (quoted in ‘I rist, you rist, she rists, he rists, we rist, you rist, they rist, tourist: Hans Ulrich Obrist in Conversation with Pipilotti Rist’, Pipilotti Rist, p.16).

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Congo is an antidocumentary by Arthur Omar almost entirely built with signs that take the place of images.

Music accompanied by the art of György Kovásznai

A documentary short in Chott el-Djerid.

In a desolated world, a martyr is steered by a man giving orders from a control room. His henchmen torture the resistance fighter. Are the parts played by victim and hangman defined as clearly as it seems? Ange Leccia offers a political reflection about the power of images and their manipulative force. —ubu.com

A pop musical featuring singer Oliver Mandic who, after being dumped by girlfriend, makes a drastic move which takes him to Wonderland. While experiencing unusual situations and meeting interesting characters, he establishes a new relationship with a girl who takes him back to reality.

A series of shots showing the majesty of Japan.

A collection of music videos spanning the first eight years of The Cure's career.

A fictionalized portrait of the British dancer and choreographer Michael Clark, depicting a day in his life as he and his company prepare for a performance.

An experimental short film by George Kuchar in which a man documents storm patterns.

Charles Manson, claiming to be the Second Coming, leads his young followers down the path of sex and murder in this bizarre homage by renowned artist Raymond Pettibon.

Three teenagers from the industrial part of Los Angeles try to form a punk rock band in Hollywood, in this short film by renowned artist Raymond Pettibon.

A strange spoof in the worst taste imaginable, renowned artist Raymond Pettibon studies the interpersonal relationships among a group of urban middle-class terrorists in the early Seventies.

At the end of the Reagan years, rocker and confrontational performance artist Lydia Lunch launches a broadside. From a formal podium, she attacks the white male power structure of the US. Next she takes on her parents. Then, the volume lowered and the background the streets of New York, she lets us know what she thinks of life, of herself, and of us, anyone who's watching or listening. Life is depression, despair, and death. She's the girl next door gone bad. And us? Compliant sheep. Lunch lays out a challenge.

A separated couple try to keep in touch through postcards of typically "American" sights: motels, monuments, parks; but their postcards cross in the mail. Misunderstandings arise; passion subsides; romance fades... Yet the postcards keep on coming.

Writes Viola: "A succession of individual images focusing on mortality, decay and disintegration, are delineated by long, slow fades to black. The image sequences — fruit falling from a tree, a candle being extinguished, a family having a flash photograph taken — appear as a series of openings or momentary glimpses into nature's essential gestures which, like thoughts, are destined to fade and themselves disintegrate into obscurity and oblivion. Peak moments illuminate the dim confines of memory and forgetting with a kind of universal light, as a baby emerges into the world before our eyes, and the camera-eye moves along a dark concrete tunnel towards the rigid steel bars of a locked gate, where it finally passes through and out into the bright world, liberated by the consuming, saturated white light of its own overexposure."

The film shows one day from waking up in the morning all the way to waking up again the next morning. The everyday situations that many commercials are made of, the little dramas that they create and solve through the product or service they sell, are stitched together into one day. This is a film about the everyday in (German, or Western-European) society because the commercials are part of the everyday of most people (everyone who watches television) and they depict an ideal image of society. The film abundantly uses repetition as an editing technique, in visual ways as described above, but also because commercials can be read in different ways. For instance, Brat baking foil shows up at the evening dinner sequence, when an ovendish is put on the table, and again later on in the sequence about going out to a classic concert, because the clip has classic music.

A gay jewish man speaks out about living with and dying from AIDS. He also discusses how being gay has affected his identity as a jew and his relationship with his parents.

Mark Rappaport's creative bio-pic about actress Jean Seberg is presented in a first-person, autobiographical format. He seamlessly interweaves cinema, politics, American society and culture, and film theory to inform, entertain, and move the viewer. Seberg's many marriages, as well as her film roles, are discussed extensively. Her involvement with the Black Panther Movement and subsequent investigation by the FBI is covered. Notably, details of French New Wave cinema, Russian Expressionist (silent) films, and the careers of Jane Fonda, Vanessa Redgrave, and Clint Eastwood are also intensively examined. Much of the film is based on conjecture, but Rappaport encourages viewers to re-examine their ideas about women in film with this thought-provoking picture.

Former members of the techno music group The KLF Bill Drummond and Jimi Cauty after forming a new "art collective" named the K Foundation burn 1 million UK pounds of their own money in a shack on the Isle of Jura while being taped by their roadie, Gimpo.

A love affair is seen obliquely: without showing the people, the camera shows objects related to the couple's bond.

This 45 minute documentary by Mark Hejnar is a sort of Whitman's Sampler of sickness, chronicling such wildly diverse and extreme personalities as G.G. Allin, Mike Diana, Full Force Frank, GLOD, Annie Sprinkle, and others. This collection of short clips and vile moments is certainly NOT for the squeamish, as these are the artists and performers who have taken the term "free expression" to it's limits--and beyond.

Filmmaker William Klein takes on Handel’s Messiah and has created a concert film that mixes the sacred with the profane. Performed in its entirety, the oratorio provides a narrative of Christ’s nativity, passion and resurrection juxtaposed against images of absurdities and abuses against the human species across the world. The film reveals a wide array of worshippers from the Bodybuilders of Christ to the Lavender Light Gay and Lesbian Interracial Choir to the Dallas police choir.

Phoenix Tapes is made up of excerpts from 40 Hitchcock films organised into six chapters, each examining a visual or contextual theme in his work.

Having found a reel of Super 8 at a Northern Ireland junk dealer's, the director tries in this filmed personal journal to locate the people he sees interviewed in the footage.

experimental film by Les LeVeque

A disorientating experience while attempting to watch the TV news in an Irish hotel room triggers a spontaneous response to the bombing of Afghanistan.

Disneyland reviewed by a true poet of cinema, Arnaud Pallières who narrates a disturbing journey into the simulacrum.

Celestial Night is a film on visibility and questions what it means to see. It is a film about what is invisible apart from the imagination: Celestial Night is a film dealing with this vital power, the ability to envision. It is a search in present day Japan for the mythical Japanese Emperor Amayonomikoto who was blind, and the story of a time when seeing was not believing.

Produced as a live multi-media event in San Francisco, on the evenings of February 26 and 27, 1993. The performance is divided into three movements, each reflective of Terence McKenna's ethnobotanical theories: Archaic Revival, Alien Love and Time Wave Zero. McKenna's presence is combined with the neo-psychedelic visuals of Rose X and ambient techno improvisations by Space Time Continuum and didgeridusita, Stephen Kent.

Hello again... this series definitely walks the fine line between madness and genius. Dizzying in its detachment to reality and flashing with the bright colors of childhood, Shaye & Kiki is impossible to describe. A cross-dressing contortionist?

The unconventional biography Perpetual Movements: A Cine Tribute to Carlos Paredes uses snippets of the guitarist's work as well as archival performance footage alongside a series of images created specifically for the movie in order to tell the tale of this multi-faceted artist

Based upon Pierre Huyghe's search for albino penguins in the Antarctic as well as a musical about his adventures, which was held in 2005 in New York's Central Park.

A jovial shirtless man attempts to rouse a contingent of lethargic dancers to life in NUDE CABOOSE. His highjinks really get the deadbeats bustin' out until something unusual catches his eye. Dance floor seduction distilled into a fateful moment!

Jim Finn, follows a South Korean video artist in North Korea who hopes to revitalize Juche cinema, somewhat inspired by a true story of a South Korean filmmaker kidnapped in the 70s to make the North Korean film industry better. This experimental satire that examines what happens when a South Korean filmmaker sojourns into communist North Korea to breathe new life into that country's flagging, propaganda-driven movie industry. Believing that cinema can prop up North Korea's Juche Idea of self-reliance, mad dictator Kim Jong-Il pulls out all the stops to help the young émigré produce appropriate films.

Storyteller recomposes aerial shots from the Las Vegas casino skyline maneuvering and influencing the interpretation of images, carefully balancing between the figurative and the abstract.

A night-time party in a mountain village in France; a reflection on the essence of our existence and a monster that preys on girls.

A portrait of the American percussionist Robyn Schulkowsky.

In one of the most beautiful places on the planet, a father wants his young son to witness his last breath to arrive at a deeper understanding of life.

Inspired in part by Susan Sontag's 'Regarding the Pain of Others'. This short video examines the integrity and effects of representational violence on spectators through a variety of formal abstractions.

Lois Patiño dissects the movement of a fire, analyses its fleeting ephemeral forms, and transforms them with sound to enrich the meaning of the images. The Image Burns begins as a reflection on our perception and becomes an intense interaction between the parts, between the images and the spectator. We look at the fire and the fire looks back at us.

Rist's body is the canvas in this surreal montage. Unflinching displays of the artist's own menstrual blood are juxtaposed with images of gemstones, while swooping, close-up shots of Rist's arms and legs are followed by archival footage of lunar fly-bys, suggesting the ease with which visual culture has abstracted the female body into a beautiful but alien natural phenomenon.

Using the format of music videos, Zhao films an actor running through the remnants of a traditional Beijing neighborhood that is in the process of being destroyed as a result of urban economic redevelopment.

In 1947, two years after the end of the Second World War, Film Journal No. 1 was released in Sarajevo. Fifty years later, after the collapse of the Communist bloc, this newsreel was lost in the confusion of the fighting in Yugoslavia. In Journal No. 1 Hito Steyerl attempts to find out how the footage got lost and what was on this document from the Sutjeska studio. In the simultaneous projection of Journal No. 1 the ‘unattainability of an historical zero hour of the national identity’ takes concrete form: The lost newsreel reports on a literacy campaign as well as Muslim women confidently removing their headscarves. We listen however to eyewitnesses trying to recapture the lost content and we see the artist Arman Kulasic making a number of drawings that resemble the story-boards for the lost film. What appears to be moments of great change remain limited by subjective and uncertain memory. The film was premiered at documenta 12.

"I Do Not Know What It Is that I Am Like" juxtaposes images of animals, both wild and domestic, and natural environments with human activity as it takes place in an apartment, and during a fire walking ceremony in Fiji. Documentary-style footage is combined with staged events. Despite the piece's lack of a traditional narrative, it bears some relationship to nature works. The segment features material from "Il Corpo Scuro (The dark body)" - animals and natural environments are seen up close and at a distance.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood. The video beautifully weaves personal images and audio recordings of a very intimate nature, binding the personal with the political. Reading aloud from letters sent by her mother in Beirut, Hatoum creates a visual montage reflecting her feelings of separation and isolation from her Palestinian family. The personal and political are inextricably bound in a narrative that explores personal and family identity against a backdrop of traumatic social rupture, exile and displacement.

Standing apart along the northeast shore of the Great Salt Lake is a huge earthworks project, boulders and potholes, clinging brine and mirrored sky, which the film documents, as it moves back geologically to dinosaur history.

Nicholas Ray plays himself, acting as mentor, friend, and artistic inspiration to his students at Binghamton.

Produced by Larry Keating for AT&T. “THE ARTIST AND THE COMPUTER is an excellent introductory informational film that dispels some of the “mystery” of computer-art technology, as it clarifies the necessary human input of integrity, artistic sensibilities, and aesthetics… Ms. Schwartz’s voice over narration explains what she hoped to accomplish in the excerpts from a number of her films and gives insight into the artist’s problems and decisions… I would recommend THE ARTIST AND THE COMPUTER for all grade levels, in classes on filmmaking, art appreciation, and human values.

A visual poem about the relation between a woman and a city. In this expressionistic piece of work emotional interplays are coloured with synthetic video...

An extraordinary video sketchbook; A highly original, visually dramatic and frequently humorous collection of one hundred abbreviated "episodes" produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs.

Viola's seminal piece, The Reflecting Pool, was made three decades ago on analogue video tape and yet could easily pass for a contemporary digital piece; in it, Viola emerges as central protagonist from a thick forest into a clearing filled by an artificial pool. As the noise of an aeroplane slowly passes and fades overhead, Viola approaches the edge of the pool, whereby he removes his shoes, squats down yelling and then prepares to make a powerful jump.

Home Improvements, Robert Frank’s first video project, is a simple and poignant diary of consequential events. It is about the relationship between Frank’s life as an artist and his personal life, and how the two are inevitably intertwined. It was made cheaply with a half-inch video porta-pak. Home Improvements takes place in New York and Nova Scotia and in the mental space between these two opposing worlds

I spent six months in Guinea - Conakry - between February and July 1986; shooting alone in Super8, I filmed elements of people’s lives and fragments of my own. (Françoise Prenant)

A daring deconstruction of consumerist behavior featuring a robot and Miss Clio Darty, with a voiceover by Godard and Anne-Marie Miéville, this philosophical "report," like so many of Godard's commissions, was rejected by its funders.

A rambling buffoon wanders the streets of New York City.

This video art work features Swiss artist Pipilotti Rist lip-synching to Kevin Coyne's 1973 song 'Jacky and Edna', her image superimposed with fleeting images seen from the window of a moving train.

This is a documentary about the 1992 New Hampshire primaries. It includes much footage of candidates as they meet people, and just before they go "on-air".

Shot in high-definition video using rear-screen process plates from classic Warner Bros. films noirs. A young man (in color) searches for his past through black-and-white scenes from "The Big Sleep," "Mildred Pierce," and "Strangers on a Train."

Interview with southern gays and lesbians highlight the issues surrounding being "Out" in the south as well as the impact of AIDS on the rural south.

A 10 minute short by George Kuchar which documents a visit with producer Christopher Coppola (nephew of Francis Ford Coppola and brother of Nicolas Cage), during which Coppola rambles on about cooking, film tricks, and his shaved head.

Revolve around daily life in Frank's New York loft on Bleecker Street, and his ramshackle place in Mabou, Nova Scotia.

In the summer of 1996, Farocki filmed application training courses in which one learns how to apply for a job. School drop-outs, university graduates, people who have been re-trained, the long-term unemployed, recovered drug addicts, and mid-level managers - all of them are supposed to learn how to market and sell themselves, a skill to which the term "self management" is applied.

A film scrapbook, images, phrases from our past, hiding their meanings behind veils. Let's lift those veils, one by one, to find how images, at one time seeming innocent, have revealed, after decades, to have homosexual overtones.

A mother and her twins talk about each other. The device of miming each others words, gives a disconcerting twist to the children's cruel honesty and their mother's unconditional adoration.

Close-ups of parts of the body, in a homoerotic statement.

Taking its title from an all-day/all-night convenience store, “AM/PM” examines the famous Las Vegas Strip, portraying the disorienting world of corporate hotels and casinos which utilise and redefine the spectacle in relation to architecture. “AM/PM” posits the concept of distraction itself as a strategy and the city as a conspiracy, which manipulates and directs the visitor.

Panning shot of a room while a group of people discusses film while eating at a table.

A dark experimental, video narrative of intertwining people.

Backwards Birth of a Nation is a re-editing of D.W. Griffith's 187-minute film, Birth of a Nation (1915), into a pulsating 13-minute black and white phantasm. By means of structural strategies of condensation, the frame by frame inversion of black and white, and playing the resulting work from end to beginning, an apparition is brought forth where images of racism float to the surface and are contextualized as a part of the flow of United States history.

Third Known Nest is a collection of nine short works completed approximately one per year from 1991 to 1999. Interwoven with nine quotations from some of my favorite writers, the eighteen short entries in Third Known Nest function as an intimate visual diary—fractured pictures from my day-to-day life. I carried a Super-8 camera with me whenever and wherever I traveled, and also at home—just running errands or in the garden. I shot nearly a hundred fifty-foot reels of film.

Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory (2000), which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet's acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist's charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank.

René, a children's theater performer, has a problem : he is a hearty eater and he weighs no less than 155 kilos. After being abandoned by his girlfriend, René decides to go on a diet, notably to reconquer her. It is also an opportunity for him to question his former lifestyle and to define new values...

This 60 minutes wake-up call to the world reaches the public as a global peace prayer. It addresses as serious human rights issues the freedom to dance at trance parties and the right to get high.

Experimental collage animation that covers decades of art, culture, technology, etc.