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The people behind it
Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."
After his mother's death, a young man edits the family's home videos to bring back her image. As he delves into the occult he begins to reveal the paradoxical magic of memories and cinema.
The Garden is an experimental work that describes the inner worlds of two sisters manifested through their connection with the garden outside their home. While mourning the passing of their close relative, the sisters encounter a man in the garden, evoking a sense of mortality in one and awakening the sensuality in another. The film was directed by Ong Ann Meng (better known as Meng Ong), who went on to win numerous awards for his short films at the Singapore International Film Festival between 1991 and 1993. His first feature, Miss Wonton (2001), won the FIPRESCI Prize at the Locarno International Film Festival.
A dying man in his forties recalls his childhood, his mother, the war and personal moments that tell of and juxtapose pivotal moments in Soviet history with daily life.
The Hypergaussian Wars is an AI-generated feature-length audiovisual work exploring algorithmic warfare, obsolete media and the transformation of images through repetition, saturation and collapse. Built from thousands of generated images, synthetic landscapes and references to 14th–16th century painting, the film stages a continuous conflict between historical visual culture and contemporary computational systems. Fragments of obsolete video games, ruined architectures, military simulations and post-human figures circulate through increasingly unstable environments. Rather than telling a linear story, the film operates as an image system in which visual excess progressively erodes meaning. The Hypergaussian Wars reflects on memory, obsolescence, artificial intelligence and the persistence of images after their original function has disappeared.
After the end of a relationship, a young Belgian woman remains alone in an isolated house and turns silence, repetition, and solitude into forms of existence and resistance to forgetting.
A woman on the run from the mob is reluctantly accepted in a small Colorado community in exchange for labor, but when a search visits the town, she learns that their support has a price.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
Three stories. Three ages. Three men. Grandfather, father, son. One is an orderly, one is a leading sportsman, and one is a master taxidermist. One desires love, the other success, and the third immortality.
A tale of people unfolds under the night sky. These doomed couples and lost individuals begin journeys and attempt to find resolution in their lives. Love is observed from a distance, sadness is in the air. With little sympathy for the loss and destruction caused to the characters, the stories progress and become neatly woven into a minimalistic portrayal of modern life.
Human, Tears, Art
In his contribution to the On Art and Artists interview series, Nathaniel Dorsky (b.1943) begins by discussing his childhood love of the John Ford film Stagecoach and its influence upon his decision to make films while attending Antioch College. Describing the affinity he developed for work operating at the intersection of film materiality and personal language, Dorsky explains how he developed his philosophy of the “devotional film” and the “microcosmic viewer.” Dorsky likens his practice to Buddhist sculpture, referring to himself as a “Japanese poet continuing aspects of the ethos of the Marxist revolution.” In the interview, the artist describes his use of the screen as an “altarpiece for the image” and emphasizes his use of editing to create works which “harmoniously coalesce.” Interview conducted by Jeffrey Skoller in May 2000, edited in 2014.
A short, experimental film that traces how two lovers (who are actually CCTV cameras) argue about love, ownership and sex in a virulently capitalist state of thought, while negotiating new terms for their increasingly anarchic relationship.
Through interspersed conversation and prose, this experimental documentary follows a poet and a neuroscientist as they explore the definition of love, what it means, and why it matters.
A kinetic prayer and structuralist intervention. Shot entirely on an iPhone 11 in a desolate Midwest laundromat, 108 spin documents the mechanics of impermanence. The film shifts from heavy turbulence to suspended repetition—not as a path to completion, but as a study of the loop itself. Featuring a layered soundscape, the work asks the viewer to stare into the rotation until the noise becomes a mantra.
Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion
Holding Space explores the lived experiences of Burmese immigrants in Singapore under the gaze of neighbours in public flats. With a focus on spatial arrangements and housing exteriors, the experimental film challenges the ways architects visualise and instrumentalise their ways of seeing, seeking to hold space for subjective experiences and the subtle yet persistent influences on our domestic interiors.
This isn’t a film. It’s a leaked ritual. Somewhere between analog prayer and digital disease, a collection of gestures tried to become human again. They failed. Children orbit the fence like insects around an electric hymn. A figure holds a violin but never plays — his silence is louder than the sound. The man in the branches hasn’t fallen in years. The killer appears, or doesn’t — but you’ll feel him beneath the cuts, mouthing things you’ll wish you didn’t understand. There are bodies, sometimes clothed in flesh, sometimes not. There is scripture, mangled and reversed — not to mock it, but to unlock it. The voice speaks, but only when you stop listening. This is the place where lost footage remembers you. Where noise prays back. CHOKE ECHO was compiled under duress by 0xHamza in 2025 using material never meant to be rearranged. Watch it if you must — but it will keep watching after you close the tab.
Against the darkening backdrop of New Delhi's apocalyptic air and escalating violence, two brothers devote their lives to protecting one casualty of the turbulent times: the bird known as the black kite.
A drama-documentary presented by Alan Yentob, with Benedict Cumberbatch in the lead role. Every word spoken by the actors in this film is sourced from the letters that Van Gogh sent to his younger brother Theo, and of those around him. What emerges is a complex portrait of a sophisticated, civilised and yet tormented man.
Making of featurette for Sherlock Holmes (2009).
James Cameron and Simcha Jacobovici go on an adventure to find the lost city of Atlantis by using Greek philosopher Plato as a virtual treasure map.
Ten Minutes Older is a 2002 film project consisting of two compilation feature films entitled The Trumpet and The Cello. The project was conceived by the producer Nicolas McClintock as a reflection on the theme of time at the turn of the Millennium. Fifteen celebrated film-makers were invited to create their own vision of what time means in ten minutes of film.
From the acclaimed director of American Movie, the documentary follows former Los Angeles police officer turned independent reporter Michael Ruppert. He recounts his career as a radical thinker and spells out his apocalyptic vision of the future, spanning the crises in economics, energy, environment and more.
What happened after Einstein fled Nazi Germany? Using archival footage and his own words, this docudrama dives into the mind of a tortured genius.
Explore the first – and only – time “demonic possession” has officially been used as a defense in a U.S. murder trial. Including firsthand accounts of alleged devil possession and a shocking murder, this extraordinary story forces reflection on our fear of the unknown.
Director James Toback takes an unflinching, uncompromising look at the life of Mike Tyson--almost solely from the perspective of the man himself. TYSON alternates between the controversial boxer addressing the camera and shots of the champion's fights to create an arresting picture of the man.
A documentary shot by filmmakers all over the world that serves as a time capsule to show future generations what it was like to be alive on the 24th of July, 2010.
Ashes and Snow, a film by Gregory Colbert, uses both still and movie cameras to explore extraordinary interactions between humans and animals. The 60-minute feature is a poetic narrative rather than a documentary. It aims to lift the natural and artificial barriers between humans and other species, dissolving the distance that exists between them.
Centres on Canadian animator Ryan Larkin, who in later years lived on skid row in Montreal following a history of drug and alcohol abuse.
Filmmaker Jonathan Caouette's documentary on growing up with his schizophrenic mother -- a mixture of snapshots, Super-8, answering machine messages, video diaries, early short films, and more -- culled from 19 years of his life.
An ecological drama/documentary, filmed throughout the globe. Part thriller, part meditation on the vanishing wonders of the sub-aquatic world.
In this documentary, Alex trusts his twin, Marcus, to tell him about his past after he loses his memory. But Marcus is hiding a dark family secret.
DEEP WATER is the stunning true story of the fateful voyage of Donald Crowhurst, an amateur yachtsman who enters the most daring nautical challenge ever – the very first solo, non-stop, round-the-world boat race.
This remarkable journey across our planet and universe explores how meteorites, shooting stars, and deep impacts have awoken our wonder about other realms—and make us rethink our destinies.
Investigative journalist, Jeremy Scahill is pulled into an unexpected journey as he chases down the hidden truth behind America's expanding covert wars, and examines how the US government has responded to international terrorist threats in ways that seem to go against the established laws of the land.
Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.
An engine fire leaves 4,000 passengers stranded at sea without power and plumbing in this wild documentary about the infamous "poop cruise" of 2013.
