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Babylon spielt in den 20er-Jahren, der goldenen Ära Hollywoods, in der die ersten Tonfilme den Stummfilm ablösen und eine neue Branche entstehen lassen.

A portrait of the late gonzo journalist Hunter S. Thompson.

The 92nd Academy Awards for film achievements in 2019 are presented by the Academy of Motion Picture Arts and Sciences.

Football like you've never seen it before! This hilarious and insightful documentary featuring Christopher Guest and Bill Murray takes you behind the scenes of the 1976 Super Bowl X between the Pittsburgh Steelers and the Dallas Cowboys.

French Artist Sophie Calle and American Photographer Greg Shephard's autobiographical account of their road trip across America. It can be seen as an experimental setup of two people and a camera on a cross-country drive, with hot twists.

In 1971 Matta-Clark produced works for the exhibition Brooklyn Bridge Event. This film records his process of making a sculpture - a small wall made of rubbish, waste paper and tin cans collected from the area.

Various situations and image transformations are organized around the central theme of the phototropic vision of the moth and its relation to the ecstasy of self-annihilation.

"Stuart Sherman: 21 Films, 1978-1986", which actually contains 25 titles, is a compilation of black and white/color 16mm and 8mm shorts assembled by the American performance artist, playwright, filmmaker, and videographer Stuart Sherman.

"I've Been Afraid" blends stories of women who have been threatened.

A documentary looking at commercials, the people who make them and the people in them.

A "home movie" by Chris Marker of his visit to Tokyo with his girlfriend, actress Arielle Dombaste, beginning with a chat with a live mannequin in a store window, then through the subway and to the market.

Electronic Arts Intermix describes Ed Emshwiller's pioneering experimental concept video as a digital sculpture: "Sunstone is a landmark tape. Symbolic and poetic, it is a pivotal work in the development of an electronic language to articulate three-dimensional space. The opening image is an iconic face, which appears to be electronically 'carved' from stone. A mystical third eye, brilliantly crafted from a digital palette, radiates with vibrant transformations of color and texture. Sculpting electronically, Emshwiller then transforms perspectival representation: the archetypal 'sunstone' is revealed to be one facet of an open, revolving cube, each side of which holds a simultaneously visible, moving video image. Created with complex technology over an eight-month period, this emblematic spinning cube metaphorically describes a three-dimensional, temporal space, both hyperreal and simulated. Emshwiller's humanistic approach to technology ushered in the 1980s with a new electronic vocabulary for conceptualizing and visualizing images in space and time. Reflecting an image-saturated world. SUNSTONE marked a new stage in electronic art."

Groundbreaking and haunting, this film is a poetic composition of recorded history and non-recorded memory. Filmmaker Rea Tajiri's family was among the 120,000 Japanese and Japanese Americans who were imprisoned in internment camps after the attack on Pearl Harbor. And like so many who were in the camps, Tajiri's family wrapped their memories of that experience in a shroud of silence and forgetting. Ruminating on the difficult nature of representing the past - especially a past that exists outside traditional historic accounts - Tajiri blends interviews, memorabilia, a pilgrimage to the camp where her mother was interned, and the story of her father, who had been drafted pre-Pearl Harbor and returned to find his family's house removed from its site. Throughout, she surveys the impact of images (real images, desired images made real, and unrealized dream images). The film draws from a variety of sources: Hollywood spectacle, government propaganda, newsreels, memories of the living, and spirits of the dead, as well as Tajiri's own intuitions of a place she has never visited, but of which she has a memory. More than simply calling attention to the gaps in the story of the Japanese American internment, this important film raises questions about collective history - questions that prompt Tajiri to daringly re-imagine and re-create what has been stolen and what has been lost.

This doc by video pioneers TVTV examines Guru Maharaj Ji, 16-year-old leader of a cult-like new age group, known to his followers as Lord of the Universe. The 1974 gathering at Houston's Astrodome features Rennie Davis and Abbie Hoffman.

A man emerges from the forest and stands before a pool of water. He leaps up and time suddenly stops. All movement and change in the otherwise still scene is limited to the reflections and undulations on the surface of the pond. Time becomes extended and punctuated by a series of events seen only as reflections in the water. The work describes the emergence of the individual into the natural world, a baptism into a world of virtual images and indirect perceptions.

Performance piece about the Kennedy assassination and the media's rôle in our view of events.

Skippy is encouraged by his parents to leave his "poisonous family" and find a new home. Along the way he is hit by a car and then filmed by a documentary filmmaker. Music from a chaotic youth party awakens him as he searches for something beautiful to hold onto.

The man delivers a surreal monologue.

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.

In this film, Matta-Clark explored and documented the underground spaces of New York City. The artist chose a range of sites (New York Central railroad tracks, Grand Central Station, 13th Street, Croton Aqueduct in Highgate, etc.) to show the variety and complexity of the underground spaces and tunnels in the metropolitan area.

Shot to resemble a personal diary film, and starring Shelly Silver herself as the fictional filmmaker heroine, "Suicide" is edgy, dark and funny; an audacious act of flirting with the suggestive autobiographical and autofiction genres.

Documents the U.S. premiere production of "Originale", a happening piece by German composer Karlheinz Stockhausen.

In "Do You Believe in Water?", conceptual artist Lawrence Weiner employs minimalist props and scenarios to stage an oblique psychological drama. In a nearly bare loft space, Weiner's performers cluster around an octagonal pink table, enacting a series of what seem to be choreographed exercises or processes: playing patty-cake, grappling for possession of rectangular blocks, kissing and embracing, engaging in bizarrely coded conversations. The performers' physical actions and interactions with one another - and with the distinctively colored and shaped objects in the space - evolve in constantly shifting relationships that become a kind of language of inflected meaning. As these relationships unfold, viewers must synthesize these cues, together with a multi-layered soundtrack that suggests linguistic, rhetorical and philosophical puzzles. This performance translates themes and strategies seen in Weiner's conceptual artworks into the realm of theater. First presentation: The Kitchen, New York City, 1976, as a component of the exhibition "With Relation to the Various Manners of Use," September 25-October 18, 1976.