Roger Hammond’s silent portraits of film artists from the early 1970s were shot in and around David Larcher’s studio. Some Friends begins with a Polaroid photograph of fellow Co-op filmmaker Mike Dunford held before the camera by the filmmaker as he pans the camera upwards with his other hand. The photograph is held roughly in the centre of the frame, and the general situation in which it is filmed is just seen at the sides of the photograph as the camera pans. The same action is repeated with several photographs, against different backdrops (the river banks, a lawn, a domestic interior).
In support of experiences that are essentially common, but to which language does not easily adhere, the video passes through places that are both themselves, and stand-ins for others.
Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time.
Shenzhen River (the border btw Hong Kong and Shenzhen), and the Second Line of Shenzhen Special Economic Zone (the border between Socialism China and Capitalism China) were compared to the Berlin Wall.
Video essay ‘Rock and Cliff' investigates the creation of Horn Town, a new model village and centre of large scale tourist development, and the experiences of rural residents moved there through government-led displacement.
Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface.
Sunny. Semantic sequences guide the gaze, a gaze that is sometimes raised, propelled downwards, then too high or motionless in front of an unrecognizable and yet so familiar vision.
Two rival street gangs from Kowloon go to war over turf and bar girls so as to dominate the area and maximize their takings; however things go from bad to worse as the girls start to get involved in the bloody feud.
In this film the director's recurring concerns return: the divisions in the Chilean left, and its contradictions between what the director calls the "traditional" and the "revolutionary" left.
Pa, a moonshining chicken farmer, is worried that his dim-witted son Junior is becoming way more attracted to their cow Sassy Sue than he should be, so he sets out to gather up all the nubile young farmgirls in the area and get them to show Junior what he's missing.
