Film Format: 16mm

  • Chinese Series

    “This film was made on 35mm whereby Stan scratched off the emulsion of the film using his fingernail. The original was step-printed by Mary Beth Reed. This film is available is both 16mm and 35mm and is in black and white.”-Dominic Angerame Scratching on spit-softened emulsion “with bare fingernails,” Stan completed this work — all that he could manage of his long dreamed-of “Chinese Series” — in his bed, a couple of months before his death. Printed by Courtney Hoskins, who has written that: “On the negative, it seemed to have the essence of Chinese characters — “strokes” and blocks,…

  • E.K.G.1.0.1

    Immanuel Kant Hospital in Neukölln, Berlin. Midnight. A patient is being admitted. TV journalists are on the spot. The beginning of a story that tells itself – and a self-portrait in broadcast and artistic media. In German with English sub-titles. Selected screenings: Filmfest Dresden, Germany, 2003; KurzFilmFestival Hamburg, Germany, 2003; International Short Film Festival Sao Paulo, Brazil, 2003; Cork Film Festival, Ireland, 2003; Split Festival of New Media, Croatia, 2003

  • E.K.G. EXPOSITUS (the broadcast and the artistic media)

    E.K.G. EXPOSITUS incorporates three of Brynntrup’s short films: Aide Mémoire – Gay Document for Remembering (16:00 min. 1995); Heart.Instant/iation II (Self-generating Manipulations) (7:15 min. 1996); Loverfilm – An Uncontrolled Dispersion of Information (21:30 min. 1996); as well as Kein Film / No Film (1:20 min. 2000) Immanuel Kant Hospital in Neukölln, Berlin. Midnight. A patient is being admitted. TV journalists are on the spot. The beginning of a story that tells itself – and a self-portrait in broadcast and artistic media. In German with English sub-titles.

  • Chicken Real

    A fascinating industrial documentary about an automated chicken-growing operation that produces 156 million chickens a year. It carries Les Blank’s inimitable humour with tongue-in-cheek narration and surreal imagery.

  • Sunflower

    A little sunflower seeks the light but is battered by the elements. Will anyone come to the rescue?

  • Silo

    In the restrictive confines of a circular room, five beautiful women communicate through sound – cackles, hisses, whispers, giggles and hushes. Intercut with quick, intimate shots of eyes, lips and hands, the film focuses on the women of Urge (Linda Catlin Smith, Fides Krucker, Marie-Josée Chartier, Katherine Duncanson and Anita La Selva) as they use a broad range of movements, gestures and vocal techniques to suggest a slightly sinister lullaby.

  • Red Brick

    “Red Brick” takes place in a psychic netherworld in which things take place paradoxically. Dancers, singers and other performers appear – pixilated, freeze-framed and swish-panned – while an artist constructs visual pieces in real time. A montage of constantly shifting images that refer to the score creates a pastiche of memories and archetypes. Choreographed by Bill James. Music by Michael J. Baker, performed by Arraymusic. Featuring Marie-Josée Chartier, Marc Richard and Barbara Hannigan.

  • Garden of Stone

    Kathak dancer Joanna Das performs this tale of the journey to the mythical Garden of Stone, a sacred landscape that is at once barren and deeply contemplative. The film is an exploration of colour, form and movement within a constantly changing environment. “Garden of Stone” is a story of transformation and spiritual epiphany performed in one of the most beautiful and dynamic forms of classical Indian dance. Music by Eric Cadesky with Ed Hanley and Kurt Swinghammer.

  • Icarus

    Shot on two hand-cranked Bolex cameras, this film captures segments from “Wind,” part of a performance cycle about the four elements choreographed by Bill James. Inspired by the Greek myth of Icarus, who fell from grace after flying too close to the sun, this work contrasts post-industrial waste with stunning images of artifice. Music by Tom Third. Performed by Yvonne Ng, Shannon Cooney and Robert Glumbek, with Fung Shui Tong and Dionysos Himel-Savopoulos.

  • All My Life

    One continuous moving shot. “…Even though much of his reputation may rest on his multiple imagery compositions, [Bruce Baillie] has the power to create compelling and evocative work of disarmingly simple form, like the superb “All My Life” – Lenny Lipton, Berkely Barb