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1979 · ★ 0.0 (0)

“The End The End” shows an interest in the film-making process as a subject. The motif of closed composition is of a circular nature, in which the end signifies the return to the point of departure, and is frequently employed by the artist.

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Poster for Fight

1979 · ★ 0.0 (0)

Picture of a fight between two women in which the victim is a judge - a man. 'Re-discovered' film by Jadwiga Singer.

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Poster for 50 km/h

1979 · ★ 2.0 (1)

One of Jadwiga Singer's analitical, conceptual films, showing how, using the simple tool of a 16 mm film camera, we are able to manipulate the conception of reality.

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Poster for Destruction

1978 · ★ 0.0 (0)

One of the structural films by Jadwiga Singer, showing relations between photo image, film record and reality. "Destruction" can also be interpreted as metaphor of Singer`s personal situation.

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Poster for Impressions

1973 · ★ 0.0 (0)

“Impressions” provides an image of conscious corporeality – an image that was rare in the art of Poland under Communism. The work is a joyful spontaneous story about female subjectivity, a film self-portrait of the artist.

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Poster for Drawing TV

1976 · ★ 0.0 (0)

Using a felt-tip pen, Partum draws geometric figures on a TV screen which displays a news broadcast filled with propaganda delivered by the country’s counter-revolutionary party leaders. The artist lays bare the propaganda message of the media and their ideologisation.

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2003 · ★ 0.0 (0)

2003 film

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Poster for The Dying Soldier of Les Milles

2014 · ★ 0.0 (0)

“`The Dying Soldier of Les Milles` observes both the memorial site Le Camp des Milles (…) and the monument of a dying soldier dedicated to the dead soldiers of World Wars I and II as well as the Algerian War. (…) The camera wanders around the soldier and the square.” (Thomas Klipper)

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Poster for Peace O' Mind

1983 · ★ 0.0 (0)

In “Peace O’ Mind” (1983, 8.5 minutes) the characters try to stay safe at home, but become isolated and entrapped there. Images of a domestic space are connected with images of poverty “in the backyard” of this space to suggest knowing of and hiding from this deprivation has entrapped the characters, physically and mentally, in their private, isolated, and disturbed spaces.

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Poster for A Floral Tribute for Essex Road

2019 · ★ 0.0 (0)

A short study of the interior of amaryllis flowers, shot on 16mm film. The central pistol, the stamens and the anthers, which produce the yellow pollen, are set against the colour field of the petals.

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Poster for me_ory

2017 · ★ 0.0 (0)

fade / appropriate / reconstruct / loop(holes) an audiovisual approximation to memory, parting from two main ideas: appropriation and re:writing

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Poster for Formal Portrait

2014 · ★ 0.0 (0)

The artist reexamines the culture of parades as one of the most powerful ideological instruments. The ceremonial raising of a flag performed by the artist in an enclosed territory without public becomes a metaphor for a victory that will never come.

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Poster for Regarde par ici,...Und dort die Puschkinallee

2018 · ★ 0.0 (0)

The camera’s gaze rises high above an area in Berlin, where the paths of tourists, homeless people, passersby and police officers cross. We are in a watchtower that once controlled the no man’s land where East and West collided.

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Poster for Les Paradis perdus

2006 · ★ 0.0 (0)

Short foundfootage film by Anne-Marie Miéville.

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Poster for Mancacioasa

2021 · ★ 0.0 (0)

A film presenting the evolution of a child who likes to eat and the way family and friends speak to her over the years. Mancacioasa is a very personal found footage student film that explores the psychological effects of "Fat Shaming".

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Poster for Blue Movement

2016 · ★ 0.0 (0)

An optisonic exploration of a world of primordial shapes created through various chemical treatments of a Super 8 emulsion. The sonic counterpart was made using a generative patch on an analogue synth, with voltage inputs from light sensors on the projection screen – the film itself steering the dynamics of sound synthesis.

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Poster for Banquet of Love

2014 · ★ 0.0 (0)

Insects in their final moments chatter noisily, displaying extravagant colors and patterns – it is their great feast of love. The work celebrates the 100th anniversary of Norman McLaren’s birth. The film was made by scratching and painting directly on overexposed 8mm film. The soundtrack was created using ‘The Octopus’, which allows the film itself acts as a score.

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Poster for Expōnēre

2019 · ★ 0.0 (0)

Exposure is to live in a system. Exposure to vibrations. Exposure to vibrating particles. We expose our atmosphere to increased emissions, and it thins and thickens in all the wrong ways, exposing us in turn. We peel back systems and expose. It connotes something missing, a lack of protection. It alludes to a burning a radiation, a fire. A structure crumbles. A structure returns. Expōnēre is Latin for exposure. Expōnēre is Part 2, from the project Come Kingdom Come, which was Part 1. This is no longer about a future apocalyptic. Exponere is the present…imperative, and passive…in a language from the past. It is about survival. It’s about hanging on, to something, even in limbo.

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Poster for Maddy O'Reilly's Submission

2014 · ★ 0.0 (0)

The darker side of punishment!

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Poster for The Paris Review...: Early Chapters

2001 · ★ 0.0 (0)

In the summer of '53, an expatriated trio of young Americans founded the international literary quarterly, The Paris Review. Guided by George Plimpton, we roam the streets and cafés of Paris, glimpse the expatriate literati world of the 50s and 60s, and step into the bustling New York offices of the Review, meeting people, past and present, who remain central to this singular literary endeavor.

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