ภาพยนตร์

A journalist digs deep into the world of aviation and discovers some uncomfortable truths. And a conspiracy trail dating back to 1954. But why is no one saying anything?

After seeing how the Colombian National Football Team achieves a draw against Argentina, Mariano Concha —a public employee for whom football is a great passion— starts a whole process to attend the next crucial match, in Bogotá and against the same team, going over all his duties and risking the future of his reduced economy. An unexpected event transforms his plans to go to the stadium.

In Section II we see a series of discrete sequences showing the children, now somewhat older, in different types of play. They manipulate tiny objects, doll furniture and miniature figures, dress up in costume, play outdoors, watch TV. We see them eating, sleeping, crying . . . A repeated image in this section, used both alone and in superimposition, is a moving, glittery golden dazzle which resembles tinselly pinpoints of light. There are golden dazzle images that look more like small bubbles than pinpoints. These glitter images, along with the occasional solid color frames, are recurrent threads connecting the separate sequences of this section. (Artforum)

A young upcoming fashion designer, gets a rude awakening when she fails to land an internship under one of the city's biggest fashion designers. Thinking her dreams of making it as a fashion designer are lost, Stacy gets her big break when she meets a famous celebrity. Stacy, along with her two fashion forward pups, Coco (a Pomeranian) and Stella (a Chihuahua), become an overnight success. After designing the celebrity's dress for a big red carpet event, a jealous competitor dognaps the pups.

BLUE WHITE, "an intonation of child birth"; BLOOD'S TONE, "a golden nursing film"; VEIN, "a film of baby Buddha masturbation."

A film about the naturalness of sexuality. Its four sequences feature heterosexual and homosexual lovemaking, dogs copulating, and naked childen at play.

This is then the property of many angels.

On August 16, 2013, the Supreme Court mandated the CIA to declassify files that had been kept secret for the past 75 years. Visual records of documented paranormal events were released to the public. The following incident took place in Gracefield, Quebec.

This, the first completed reel of work-in-progress, draws on autobiographical energies and images which reflect the first 20 years of my living. I have three definitions of the word Sincerity to sustain my working along these lines of thought with this autobiographical material: (1) Ezra Pound's marvelous mistranslation of a Chinese ideogram – Sincerity... the sun's lance coming to rest on the precise spot verbally...(of which I would change, for my purposes, the last word to visually), (2) Robert Creeley's trace-of-the-word for me on the back of a Buffalo restaurant menu Sym-keros... same-growth (Ceres) CREATE... of the same growth, and (3) Hollis Frampton's track-of-it to 'the greek', viz – 'a glazed pot (i. e. one which will hold water).' This film might best be seen, then, as a graph of light equivalent to autobiographical thought process.

Rotterdam 2040 is a film about the city’s future, departing from the principle of Gyz La Rivière that you can’t look ahead without considering your past (something that hasn’t always been Rotterdam’s strongest feature). At high speed, La Rivière reconstructs the history of Rotterdam from the time before the bombings until now, and expands the developments to the year 2040 (100 years after the bombing and the 700th anniversary of the city). La Rivière made a specific choice to expose his personal vision, which is sometimes radical or a little absurd. So no experts and no talking heads, but an assault of old and new imagery, held together by La Rivière as the narrator of the film. Although Rotterdam 2040 deals with architecture and urban renewal, it is actually a film about people. The subjective experience of the city by its (future) occupants mainly determines the parade of architectural blunders and suggestions for the future. All tongue-in-cheek of course.

This film, one of the most perfect ever given to me to make, was inspired by the series of paintings of the same title by Edward Hicks. - SB