Ayers Rock is examined in the light of its ancient human and animal associations. It is seen under various light effects which create different colour and texture impressions. The timelessness of the monolith is suggested by negative colour, the result of using fine-grain Eastmancolour print stock in the camera, a slow speed material which required the intense Central Australian light for adequate exposure. A half-speed recording of the local bird call and insects contributes to the sense of cross eras. Human perception of time, colour and sound is questioned. As Einstein said: 'The distinction between past, present and future is only an illusion, even if a stubborn one.'
Shot mostly at Uluru, the rock in the heart of Australia. The extreme heat damaged the emulsion of the film which is subsequently incised by the filmmaker.
As the camera moves gently from afar into the very heart of the monolith, the magic of the holiest site of the Aborigines unfolds in shimmering nuances of light.
Avant-garde appeal on behalf of and made by the adventurous leftist London cinema, The Other Cinema, using the facilities provided by the BBC community programme unit.
Memory Surfaces and Mental Prayers is a collection of works that address the desire to transcend the perceptual and cognitive structures of experience.
Don Diego goes to war and his son Don Gonzalo is, in his absence, the new lord of the region. The milling Elvira, one of the mistresses of Don Diego, has a beautiful daughter, Elena, who has the desire of Don Gonzalo.
a time-lapse glimpse of the Madison, WI skyline from dusk to dark. Shot from within a hotel room, the street traffic and the reflected interior interpenetrate in gradually shifting superimposition.
Babae...Ngayon at Kailanman is a film adaptation of three Filipino short story masterpieces: Nick Joaquin's "May Day Eve", Amador Daguio's "Wedding Dance" and Wilfrido Nollega's "Juego de Prenda.
