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Trance dances and out of body projection. In front of the camera, Parvaneh Navaï becomes a mediator who enters in contact with and immerses into the energies of Nature, while her own energy radiates and echos in the forest ("selva"). The camera amplifies and expands her presence, transforming the forest into an imaginary space. The camera becomes a painter's brush.
Parvaneh Navaï

Skip Liberty enlisted in the Army in 1968. During his tour in Vietnam he shot 3,100 feet of Super 8 film, over 3 hours worth. Upon returning to the states the film was placed in storage, Skip had never seen the footage he shot. Until now.
2024

This is the story of Roger, a former pork butcher, who worked for 40 years in the beautiful town of Beaune in Burgundy. Since he retired, he has started a new life as a filmmaker: Roger films only on Super 8. Insects, birds, everything he can find in the countryside are his favorite subjects. His short films have won prizes all over the world, some of them have been shown during the Cannes Film Festival. Josette, his wife and number one fan, happens to work for him from time to time.
2022

A documentation of the year of high school of 1970 to 1971 for students and teachers alike at the St. Mark prep-school community, from the 'weird drama and film students', to the most infamous teachers of the year like Mr. Burns and Mr. Whatley, along with many references to music and film of interest at the time; Consistently from the perspective of an intrusive senior, according to Mr. Whatley, "had the worst case of senioritis he had ever seen." Shot entirely in Super-8, narrated by the director.
2022

A fragmented collection of independent closed cinemas, in London during lockdown, captured on Super 8mm film.
2022
This experimental short traces the lifespan of the graffiti and murals present at the occupation of NYC’s City Hall in June and July of 2020. The encampment formed to demand the abolishment of the NYPD and the reallocation of its resources to housing, education, and other social programs.
2021

Paying tribute to artist Noah Purifoy and his Outdoor Museum, Matthew’s film ‘A Desert Moment with Noah’ rapidly animates 78 still Super 8mm images like a slideshow gone haywire. Exploring the of elasticity of time, the film manipulates the essence of a moment as it periodically pauses to allow the viewer a space with various objects, surfaces, and textures within Purifoy’s Joshua Tree sculptural environment.
2021

Based on home movies shot on Super 8mm film, A Family Film places the mother at its center as the narrator while tracing the memories of a family living in Istanbul in the 70s.
2019

In 1948, French singer Charles Aznavour (1924-2018) receives a Paillard Bolex, his first camera. Until 1982, he will shoot hours of footage, his filmed diary. Wherever he goes, he carries his camera with him. He films his life and lives as he films: places, moments, friends, loves, misfortunes.
2019

Told through performances, TV interviews, home movies, family photographs, private letters and unpublished memoirs, the film reveals the essence of an extraordinary woman who rose from humble beginnings in New York City to become a glamorous international superstar and one of the greatest artists of all time.
2017
De-electronation of a molecular entity as a result of photoexcitation. Light increases its oxidation state, at the same time it releases free radical electrons. Light goes through human work as a natural photodegradation. It mutates within its own limits, from a solar irradiation to its impossible perception in an absent retina.
2013

The filmmaker Juan Pinzás goes on a physical and also inner journey, in search of some lost images that he filmed in the 80s. The journey takes him from Madrid to Galicia and on the search for these images he meets with various characters who will help him in his undertaking, such as the actors Paul Naschy and Javier Gurruchaga whose personal worlds will be examined in the film. Finally in Vigo, his home city, of which he presents a remarkable portrait, he finds an old film in Super-8mm with the missing images. The catharsis is produced with the viewing of the old film which turns out to be a tribute to cinema and this means the end of the filmmaker's introspective journey.
2009

A grandmother dies and leaves behind hours of secret film and audio recordings as well as an envelope with the words “Must read after my death,” which reveal a dark history for her family to discover.
2007

Stewart Copeland, drummer for The Police, compiles his Super 8 footage to offer an intimate look at what it was like to be a member of one of the most important rock bands of all time.
2007

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
2004
Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.
2003

Lost Boundaries is comprised of footage shot by Julien on location, in England in the summer of 1985, during the making of the Sankofa film and video collective's first experimental feature film The Passion of Remembrance (1986), which he co-directed with Maureen Blackwood, another member of the collective. In recapturing those moment Lost Boundaries both deconstructs and foregrounds the means of 16mm film production while weaving together a fragile community of Black artists and actors who came to prominence at a time when debates in film theory - such as those of the Screen film journal and of "third cinema" discourses where cinema was intertwined within (Brechtian) filmmaking practices - were at the forefront of forging a new politics of artistic representation. A Black avant-garde.
2003

The Quays' interest in esoteric illusions finds its perfect realization in this fascinating animated lecture on the art of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.
1993
Black Hole Radio is an installation that consists of taped confessions of callers of the New York City Phone Confession Line and video images. The Phone Confession Line is based on anonymous callers ringing to confess on things they had done or thought like adultery, theft, murder or regrets. Thereafter anybody could call and listen to the confessions. Although making a confession was free, listening to a confession costs money. After Cohen got his hands on the confessions, he used them as an audio heartbeat to accompany video-images of every day life in New York City he had taken over the years. This installation is a portrait of the city with its dark secrets, hushed voices and nocturnal images. In this way Cohen tries to bring across an experience to the viewer that relies on absence, waiting and the effort to hear something in the dark.
1992

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
1977

The first film by Chantal Akerman, a short silent 8mm film shot during the Brussels summer Midi Fair, that was one of four short films she made as a short of entrance exam at INSAS were she studied for just a couple of months.
1967