Experimental/Avant-Garde

An unhappily married woman devises a scheme to get rid of her husband.

A scientist's invisible ray freezes Paris into immobility.

Experimental film, white specks and shapes gyrating over a black background, a light-striped torso, a gyrating eggcrate. One of the first Dadaist films.

A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, kitchen objects in concentric circles or rows - pots, pan lids, and funnels, cars passing overhead, a spinning carnival ride. Over and over, a heavy-set woman climbs stairs carrying a large bag on her shoulder. An Art Deco cartoon figure appears, dancing. This is a world in motion, dominated by mechanical and repetitive images, with a few moments of solitude in a garden.

An absolute dada movie. Somebody gets killed, his coffin gets out of control and after a chase it stops. The person gets out of it and let everybody who followed the coffin dissapear.

A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.

A spiral design spins dizzily. It's replaced by a spinning disk. These two continue in perfect alternation until the end: a spiral design, a disk. Each disk is labelled and can be read as it rotates. The messages, in French, feature puns and whimsical rhymes and alliteration. The final message comments on the spiral motif itself.

Obsessed with a general's woman, a clergyman has strange visions of death and lust, struggling against his own eroticism.

A long series of unrelated images, revolving, often distorted: lights, flowers, nails. A lightboard appears from time to time carrying the news of the day. Then, an eye. A woman in a car drives along country roads. Farm animals. She descends from the car, again and again. Images: dancing legs, seashore, swimming fish, geometric shapes, cut glass. A man removes his starched collar. It rotates. A girl has garishly painted eyes. No, she's only fooling. Those were her eyelids.

Allan visits the sinister Usher family mansion, where his friend Roderick is painting a portrait of his sickly wife Madeline. The portrait seems to be draining the life out of Madeline, slowly leading to her death.

Two people stand on a road, out of focus. Seen distorted through a glass, they retire upstairs to a bedroom where she undresses. He says, "Adieu." Images: the beautiful girl, a starfish in a jar, city scenes, newspapers, tugboats. More images: starfish, the girl. "How beautiful she is." Repeatedly. He advances up the stair, knife in hand, starfish on the step. Three people stand on a road, out of focus. "How beautiful she was." "How beautiful she is." "Beautiful."

Luis Buñuel and Salvador Dalí present 16 minutes of bizarre, surreal imagery.

What starts off as a conventional travelogue turns into a satirical portrait of the town of Nice on the French Cote d'Azur, especially its wealthy inhabitants.

A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

An engine moves from the roundhouse to a track where it couples with several passenger cars. At 2:10 in the afternoon, it starts a trip out of the station through the countryside to its destination. The film consists of a montage of shots, some close up, of the engine and its gears and wheels. With the accompanying ambient sounds and an orchestral score, the emphasis is on the engine's power and speed. Parallel lines of multiple tracks, telephone wires, and trees confirm a careful composition.

This film illustrates Debussy's works "En bateau", "Arabesques", "Reflets dans l'eau" and "Arabesques en sol". As a visual counterpoint to the music it shows playful reflections, transparencies, and iridescence of water.

Two prisoners in complete isolation, separated by the thick brick walls, and desperately in need of human contact, devise a most unusual kind of communication.

An early experimental short film produced by Peter Kubelka.

A short film originally intended to be a commercial for Schwechater Beer, but along the way it morphed into something completely different.

Notes of journey life of Stan Brakhage like a befits of a diary book in a very strong sense of experimentation, romantic, modernist and abstract.

Clips of atomic explosions, pornography, and B-movies are spliced together to evoke certain emotions.

Stan Brakhage films the birth of his first child, Myrrena.

The prelude to Dog Star Man (1964), an experimental film wherein a man climbs a mountain along with his dog.

The first part of Dog Star Man (1964), an experimental film wherein a man climbs a mountain along with his dog.

The second part of Dog Star Man (1964), an experimental film wherein a man climbs a mountain along with his dog.