Lemon

La Mer

June 1991 •

The passing time is displayed as a series of still frames, or a rapid sequence of moments, ever flowing like the waves that break on the shore, like a repeated chant with no beginning, middle or end.

Le côté obscur de l'ampoule

April 2017 •French

Third Shift Coming Home

March 2023 •English

This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.

Theory of Light

March 2022 •English

Theory of Light is a documentary centred on the climate emergency through a climate justice lens. It's committed to uplifting the perspectives of communities already being impacted by climate change and representing those who feel excluded from the climate movement.

Tiger Balm

June 1972 •English

"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive matters." - HF

Pas de Trois

October 1975 •English

An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.

Reila

May 2023 •Dutch

Trapline

January 1976 •English

Ellie Epp’s 12-shot study of a soon-to-be-demolished public bath in London, which “maps another way out of structural film toward a cinema of delicate implication".

Samambaia

April 2021 •Portuguese

A computer generated fern follows a modular synthesizer soundtrack.

Fogão a luz

April 2021 •Portuguese

Backed by an echoed horn music, the light passes through a magnifying glass. On the walls, they portrait pans being held on top of a stove.

C-Film

January 1970 •English

Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.

Luminescence

December 2019 •Portuguese

A thinking about light and how it surrounds our lives.

Torre 1

Invalid date •

The port of a Mediterranean coastal city, which had once been the symbol of prosperity and the epicenter of life in the region, is now only the reflection of a decaying present. Static and empty shots reveal glimpses of a brilliant past, only interrupted by the intermittent sound of the construction of a residential apartment building that stands menacingly a few meters from the dock, presaging an even darker future.

Dusk of the Lights

September 2023 •

Dusk of the Lights is a short experimental film directed by Allan Bustovsky.

Grid

October 2021 •Portuguese

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Exploring the Spectrum

January 1974 •English

An exciting video journey through the world of time-lapse photography by one of the founders of the science of photobiology, Dr. John Nash Ott. Do fluorescent lights cause cancer and childhood learning and behavior disorders? Can long-term exposure to low-level radiation as from TV sets, computers, fluorescent lights, and similar devices harm you? Does living behind window glass and with glasses covering our eyes over years affect our health? Is natural sunlight and trace ultra-violet radiation really harmful? Or is it necessary and beneficial? How do cells, plants, and animals respond to constant exposure to different light color frequencies? These and similar questions were the subjects of Dr. Ott's pioneering investigations in the field of photobiology, using the methods of time-lapse photography.

Luz de América

May 2018 •Spanish

From the light that falls on the backyard of his house on the day of the equinox without shadow in Quito, and inspired by the "Theory of colors" of Goethe, the director takes us to several cities in America to reflect on the influence that the light has in the understanding of our surroundings.

Niebla

October 2017 •Spanish

Fog has a curious effect on cinema. On the one hand, it precludes the production of those images that seem artificial, on account of their sharpness. On the other, the mist gives each frame a mysteriously narrative quality. The joy of watching the sea and the beach under a blanket of mist allows eluding the world of the quotidian, to suspect the beauty of the uncertain and unstable

Tracing Light

January 2025 •German

Light is a fascinating phenomenon. Without light, there would be no cinema, no film – and no life. So light is at the origin of everything, and yet it remains invisible to the eye until it hits matter. This moment is – quite literally – the starting point of Thomas Riedelsheimer’s latest work, for the springtime spectacle of rainbow shreds in the cinematographer and documentary filmmaker’s flat became the starting point of a search for the origin of the images we form of this world. For this quest he dived deep into two spheres that seem to follow different laws but always strive to fathom the magical: physics and art.

Hackney Marshes – November 4th 1977

January 1977 •English

An improvisation recorded over the course of one day, starting at dawn and finishing after dusk. The film was edited in camera and shot from one camera position in the middle of one of the 112 football pitches that cover Hackney Marsh, a location chosen because of the similarities between the surrounding buildings and objects (identical blocks of flats, goalposts etc.). By cutting between precisely matched framings of similar objects, illusions of movement were produced, disrupting representational readings of the landscape. Unforeseen events occurring in the vicinity were also recorded, determining to some extent the subsequent filming. Through selection of shots and changes in cutting pace and speed of camera movement, the film fluctuates between record and abstraction.