“A motion picture composed of brief diaristic scenes not used in completed films from the years 1960-2000; and self-referential video footage taped during the editing. Brief glimpses of family, friends, girl-friends, the City, seasons of the year, travels. Occasionally I talk, reminisce, or play music I taped during those earlier years, plus more recent piano improvisations by Auguste Varkalis. It’s a kind of autobiographical, diaristic poem, celebration of happiness and life. I consider myself a happy man.” –J.M.
“In a film of amazing delicacy and poetic insight, Mekas celebrates the beauty of imperfect images…” –Amy Taubin
“OUT-TAKES starts with Mekas alone at night while the city sleeps, editing his old films. As he looks back over his life he starts to talk, insisting that his life’s work amounts to ‘just images, some fragments of this world’ that he will bring together for himself and a few friends. But as images of the people who brought joy into his life pass by, we realize that most of them are no longer alive. Mekas sees them again, but he is seeing them alone. As much as it is about his happy life, the film is also about emptiness, loss, and a longing for some sort of spiritual consolation. At one moment the cover of St John of the Cross’s MEDITATIONS appears on screen. This is Mekas’s long dark night of the soul.” – Richard Dorment, THE TELEGRAPH
Out-Takes from the Life of a Happy Man, Jonas Mekas
USA/UK, 2012, 68 min, 16mm&video, color, mono

我的电影日记 1970-1979：我的婚姻、孩子出生、你看着他们长大。日常生活的镜头、幸福和美丽的片段、法国、意大利、西班牙、奥地利之旅。一年四季穿过纽约。朋友、家庭生活、自然、无休止地寻找美丽的时刻和庆祝生命的友谊、感觉、短暂的幸福时刻。这部电影也是我写给纽约的情诗。

A 1971–72 documentary film by Jonas Mekas. It revolves around Mekas' trip back to Semeniškiai, the village of his birth.

一部由六段分摄于不同时期的胶卷所组合成的编年记事。 约拿斯.梅卡斯以第一人称的日记体，阐述他自1940年代从立陶宛流亡至美国的心情。 梅卡斯的镜头关照着移民社群的日常，也在他方寻找自己的家，如同片中的自述：「我是摄影机的眼睛，我是见证者，我记录了这一切。 我不知道，我是在歌唱还是哭泣？」

一战以前，影院的的艺术家和诗人往往都是激进分子，他们热衷于拍电影并把这种艺术形式向新的方向发展，他们被排除在艺术领域和电影工厂之外，像是被困在一座孤岛上，他们大胆的创造出自己的电影世界并拥有一个自己的工作网络，并作出了不可估量且有力的贡献
This feature-length documentary provides a vivid, eye-opening, and appropriately personal introduction to one of the most important, yet perpetually marginalized, realms of filmmaking: avant-garde cinema.
Achieving the near-impossible task of doing justice in a mere 82 minutes to this incredibly rich, varied, and expansive domain, FREE RADICALS is as expertly constructed an introduction to the topic as one could hope for, thanks in large part to the films privileging of rare interviews with some of the most important filmmakers in the avant-garde tradition (including Jonas Mekas, Peter Kubelka, Stan Brakhage, and Hans Richter), and its inclusion of several films in their entirety. The film's sincere admiration for its subject is best reflected by Chodorov's own description: "I wanted to share a few of the films I love and introduce you to some of the free, radical artists who made them."

Featuring interviews with the likes of Hitchcock, Kurosawa, Robert Bresson and David Lynch, What is Cinema? is documentarian Chuck Workman’s engrossing visual essay about mastery of cinematic form. Our world premiere will be followed by a live conversation with Workman.

　　这是来自美国实验电影大师肯.雅克布斯的6小时42分钟先锋纪录片巨作，《星光照亮死亡》据说是花了他近50年竭力创作的一部集大成之作，美国政治，种族，地下电影等等半个世纪的历史和发展均收录其中，1957年当雅克布斯还是一位青年独立电影人的时候就开始构思和收集影片素材，几十年间他为这部影片可以说倾尽全部，影片所有的资金设备创作全部由他自己独立承担，直到2004年才得以完成，2006年正式发行。

在与父母度假后，Mikey将前往机场返回他的妻子和新生儿。除非他不登机。相反，他回到他在曼哈顿下城的父母的阁楼，回到他童年的房间，后来被转换为存储。他不确定自己的动机，为自己留下来的原因找借口 - 他的航班延误了，他的航班被取消了。一天过去了，然后是另一天，他打电话回家工作说他还不能回来 - 他的父母已经老了，他的父母病了，时间太短了。他的溺爱母亲非常乐意让他拖延，而他的艺术家父亲则怀疑。从远处看，他困惑的妻子越来越不安。与此同时，Mikey搬回他的房间，挖掘笔记本和纪念品，呼唤老朋友。随着时间的推移，他在青少年的庇护所中变得越来越根深蒂固，并且他必须在生活中和生活中做出选择。 - ©官方网站

A man fondles objects, looks at himself in the mirror, poses in different clothes, smiles and makes faces at the camera while his voice on the soundtrack speaks of his despair, makes impressionistic statements and little songs, quotes Greta Garbo and Maria Montez, tells the story of a lonely little boy and tells the story of a woman named Madame Nescience who dreams of herself as the Mother Superior of a convent of sexual perversion.

Not a documentary in the strictest sense of the word. Rather, it is a journey through the world of the artist Jonas Mekas - one of the exponents of independent U.S. movies; founder and director of the New York Anthology Film Archive.

One hundred and sixty portraits or rather appearances, sketches and glimpses of avant-garde, independent filmmakers and film activists between 1955 and 1996.
Why BIRTH OF A NATION? Because the film independents IS a nation in itself. We are surrounded by commercial cinema Nation same way as the indigenous people of the United States or of any other country are surrounded by Ruling Powers.
We are the invisible, but essential nation of cinema. We are Cinema.