Home movies shot on Super 8mm by W+B Hein over 10 years.

Long after his premature death, the impact of Paul Sharits lingers on. The prominent iconoclast and innovator provoked with fast-flickering, pulsating, colourful mosaics. The many interviews and testimonies are also a portrait of a generation of leading voices in experimental filmmaking.

'Rapture' is a fierce vision of a Dionysian experience, a tightly controlled visual statement about the abandonment of self to heightened transportive states. It is also an exploration of the similarity between 'religious' and 'visionary' ecstasy and psychotic states.

This is a rare video interview with one of America’s finest film artists, shot in New York towards the end of his abruptly terminated career.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Reel 13 of Gérard Courant's on-going Cinematon series.

A recording of a meeting in the studio where Jeffrey Schier and Woody show colleagues and teachers a new tool. Between 1976 and 1980, Woody and Schier designed a prototype device, the Vasulka Imaging System, or Digital Image Articulator. It was one of the first digital audiovisual tools to generate image algorithms and convert them to an analog signal. In the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo became one of these places of, teaching and mediating, in the area of Media Art, developing into what was perhaps to the most influential school for media in the twentieth century. Teaching there under the leadership of the founder Gerald O’Grady were the (meanwhile canonized) structuralist, avantgarde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary filmmaker James Blue, video artists Steina and Woody Vasulka, and Peter Weibel.

“Freud established that jokes were structurally akin to dreams in their use of condensation, displacement, representation by opposites, punning and ‘nonsense’. All of these strategies are much in evidence in (Land’s) marvelously duplicitous ON THE MARRIAGE BROKER JOKE… [...] so clever and original a filmmaker as to make most others – not to mention his critics – seem flat-footed by comparison. ON THE MARRIAGE BROKER JOKE harks back to Bunuel’s early work. Not only is it structured like a dream and filled with sexual imagery, but like Un Chien Andalou, it smacks of being an insider’s joke played upon the avant-garde. Where Bunuel used the insights of psychoanalysis to satirize Christianity, Land– with an almost equal perversity – reverses the process and uses Christianity to send up Freud.” – J. Hoberman, American Film