In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests. Preserved by the Academy Film Archive in 2001.

这部关于魅力十足的电影制作人、诗人和人类学家玛雅·黛伦的权威传记包含她的开创性作品《午后的迷惘》和她未完成的海地纪录片的摘录、对斯坦·布拉哈格和乔纳斯·梅卡斯的采访、以及她的讲座录音。由海伦·米伦讲述，这是一个短暂而非凡的一生的故事，也是一个开创性的电影作品的故事，它影响并形成了美国独立和艺术家电影制作实践的开始和随后的方向。

Reminiszenzen aus Deutschland de Jonas Mekas
États-Unis, 2012 / 16mm transféré en vidéo et vidéo, 25’, coul., vostf, inédit
« Ce film e st ma première tentative d’introduire brièvement à la période allemande de ma vie : de juillet 1944 à octobre 1949. Utilisant des photos originales de l’époque et des images film et vidéo prises en 1971 et en 1993, je revisite Elmshorn, Flensburg, Wiesbaden, Mainz, et Kassel, où j’ai passé plusieurs années de ma vie – d’abord travailleur forcé dans un camp de prisonniers de guerre, puis plus tard, dans des camps de "Personnes déplacées"”. La bande-son est constituée de brefs extraits de mes journaux de l’époque, de réflexions actuelles et de passages des écrits de Wolfgang Borchert. »
Jonas Mekas

Documentary feature length film/video portrait of George Maciunas, the founder of the avant-garde art movement 'FLUXUS'

Metropolitan Museum of Art curator Henry Geldzahler reflects on the 1960s pop art scene in New York.

IT CAME FROM KUCHAR is the definitive, feature documentary about the legendary, underground filmmaking twins, the Kuchar brothers. George and Mike Kuchar have inspired two generations of filmmakers, actors, musicians, and artists with their zany, "no budget" films and with their uniquely enchanting spirits. George and Mike Kuchar grew up in the Bronx in the 1950's making "no-budget" films, compulsively copying Hollywood melodramas with their aunt's 8mm, home-movie camera. In the 1960's the New York underground film scene embraced them as the "8mm Mozarts". Their early films deeply inspired many filmmakers, including John Waters, Buck Henry, Atom Egoyan, Todd Haynes, Cory McAbee and Wayne Wang. IT CAME FROM KUCHAR includes numerous clips from the Kuchar brother's early films including HOLD ME WHILE I'M NAKED, SINS OF THE FLESHAPOIDS, and many others. IT CAME FROM KUCHAR features interviews of many of the filmmakers, artists and writers who've been inspired by the Kuchars. The film also features interviews of key "actors" from the Kuchar's films, ranging from the earliest days in the Bronx through today. For close to forty years George has taught film production at the San Francisco Art Institute (SFAI). His class is unbelievable in a circus-like, Fellini-esque style that generates tremendous enthusiasm from his students. IT CAME FROM KUCHAR follows his latest class production as they make an over-the-top "monster picture".

Using his trademark flicker method, Ken Jacobs pays homage to the oldest brand of color film, Kodak (whose production was discontinued in 2009) and to Jonas Mekas, who managed to breathe life into Kodak.

Paradise Not Yet Lost (a.k.a Oona’s Third Year) de Jonas Mekas
États-Unis, 1979, 16mm, 96’, coul., vostf
filmé en 1977, monté en 1979
« Le film se divise en six parties. La première se passe à New York et nous y voyons de nombreuses scènes quotidiennes à la maison et en ville, et également notre fille Oona qui a trois ans. D’autres sujets aussi : concert de Peter Kubelka ; visite à Marie Deren, la mère de Maya ; parade de St Patrick’s ; printemps à Central Park ; etc. La deuxième partie, très brève, se passe en Suède pendant notre visite à Anna Lena Wiborn. La troisième partie se passe en Lituanie pour le 90e anniversaire de ma mère avec ma femme Hollis et Oona, alors âgée de deux ans et demi. Oona rencontre ses cousins, on boit de la bière faite à la maison, on se promène à travers les bois, on cueille des champignons et des fraises sauvages, on s’amuse. La quatrième partie se passe en Autriche, on rend visite à Peter Kubelka et à Hermann Nitsch à Prinzendorf, on goûte le vin de Hermann, on parle aux ânes de Peter, on visite Saint-Nicolas à Kremsmuenster, puis nous allons en Italie avec Peter à la recherche du vin de Michel-Ange, le Canaiola. La sixième partie est le retour à New York ; visite à Willard Van Dyke ; 3e anniversaire d’Oona, incendie à Broome Street, encore des scènes d’intérieur, début des tempêtes d’hiver. C’est un diary film, mais c’est aussi une méditation sur le thème du Paradis. C’est une lettre à Oona pour l’aider, un jour, à se souvenir de ce qu’était le monde autour d’elle quand elle avait trois ans. Une époque dont elle n’aura que quelques petits fragments de souvenirs dans sa mémoire. Un guide romantique pour lui rappeler les valeurs essentielles de la vie, dans un monde artificiel, commercial, (un) poison pour le corps et l’esprit. » Jonas Mekas, novembre 1979
« […] Où Jonas, après s’être longtemps identifié à la figure d’Ulysse, à son errance et à ses combats, comprend qu’il n’y a pas d’Ithaque (sauf à en ouvrir les frontières à l’universalité de la culture ou à souhaiter, avec le poète Cavafis, que la route qui y mène soit longue) et se comporte désormais comme Pénélope. »
Patrice Rollet, « Zefiro Torna de Jonas Mekas », Trafic n°80, hiver 2011

21世纪「Z世代」娱乐资讯爆炸，快餐影音全球当道。 早在1960年代网络尚未发展之时，白南准便以「破坏艺术家」之称闻名，透过录像艺术刻画他对未来资讯科技发展的奇思。 1974年，他便以信息高速公路形容数据媒体传播。 这样的概念在当时极度创新，大胆又准确预测了当今世界各地实时交流、新媒体的急速传播; 他的前卫之举，更创造出一种空前的视觉飨宴。 本片带领观众深入白南准世界里科学、艺术、流行文化的破格及融合，同时也见证身处「未来」的我们，如何活出白南准眼中的异想世界！

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways.
Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice.
The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia).
The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

Notes on an American Film Director at Work: Martin Scorsese de Jonas Mekas
États-Unis, 2005, vidéo, 80’, coul., vostf
Jonas Mekas filme Martin Scorsese sur le tournage des Infiltrés.
« J’ai rencontré Martin Scorsese quand il était encore un étudiant en cinéma à l’université de New York. Il venait à mes projections. Mais notre amitié a commencé quand il a fait son premier long métrage, Who’s That Knocking at My Door ? Mon frère Adolfas, Shirley Clarke et moi, on a rejoint Marty pour une émission radio de deux heures pour lancer son film. Nous avons passé un très bon moment. J’ai toujours la cassette. On m’a demandé de faire un film de dix minutes sur Marty pour introduire sa rétrospective au Centre Pompidou en 2005. À ce moment-là, Marty était en train de tourner Les Infiltrés. Je lui ai demandé si je pouvais le suivre une semaine ou deux, et il a accepté. C’est ainsi que le film s’est fait. Sebastian, mon fils, m'a rejoint avec une seconde caméra. J’ai fait une version courte, puis une plus longue. Comme j'étais très occupé par d’autres projets, j’ai demandé à Benn Northover, l’un de mes amis, de m'aider à le monter – j’avais quinze heures de rushes – et nous nous sommes beaucoup amusés parce que nous aimons tous Marty. C’est un film de chambre, un hommage personnel à un ami. »
Jonas Mekas

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.

In 2007, Mekas took his filmmaking online, using his website Jonasmekas.com as the platform for a project called 365 Films, posting a new video each day for the entire year. Intended for "eye-pods" (as his May 31 entry puts it), many of these tidbits are created from now-archival film and video diaries years or decades old, while some employ content shot only days prior to posting. (...) Each daily dose is under 10 minutes (app. 30 hours in total), and their effect is collective; a years' worth of these forms a digital approximation of the monumental quality of his long-form films.

拍摄于阿道法斯与妻子Pola Chapelle和哥哥乔纳斯三人回立陶宛的旅程途中，乔纳斯将这旅途拍成了《回忆立陶宛之旅》，阿道法斯将其拍成了《归乡》，Pola Chapelle将其拍成了《前往立陶宛的旅程》。
Created at the same time as Reminiscences of a Journey to Lithuania—and frequently overshadowed by his brother’s film—Going Home was ma de by both Adolfas Mekas and his wife Pola Chapelle about the Mekas brothers’ return to Lithuania after a twenty-seven-year absence. A moving portrait emerges with feasts, family, friends and “flowers for the dead and for the living in this film; it is full of flowers and songs."

"Until Rameau's Nephew... no one has exhibited a film that deals so thoroughly with the range of perceptual problems elicited by the sound cinema." (M. Keller, Chicago Film Centre)
"...an achievement of the originality and brilliance of Wavelength. Snow embraces the problems on intimacy of language and thought with such variety, clarity and invention and high humour that again he seems to have made a film out of which an entire future movement could be mined." (P. Adams Sitney, Soho Weekly News)
I started scripting this film in February 1972 and writing, shooting, mixing, editing and continued till September '74. Some ideas used in it date from 1966 when I recognized in myself the ambition to make an authentic Talking Picture i.e. true to its description, it moves for its content from the facts of the simultaneities of recorded speech and image; it is built from the true units of a 'talking picture' the syllable and the frame. All the possible image/sound relationships centering around people and speech generate the movie-audience relationships: a wide range of emotional possibilities, the experience of seeing/hearing this film.'Speech', 'Language', 'Culture' - their source, their nature...recorded, imaged, prove (?) that in this case a word is worth 1000 pictures. (Michael Snow)
Scripted and Directed by Michael Snow. Shot primarily in Toronto and New York by himself, Keith Lock, Babette Mangolte, David York and others.

Birri devoted his energies to opposing social class inequalities in Argentina, yet with the Frondizi government ousted by the military, Birri was forced to leave the country in late 1963. While in political exile he traveled throughout Latin America teaching young filmmakers his craft, eventually returning to Rome due to lack of resources. He spent ten years making the little-seen experimental art film, Org. When it was finally finished in 1978 it so outraged its producer that he ordered it destroyed (though reportedly a print still exists).

乔纳斯·梅卡斯操刀改编自己的的同名日记集。导演则是影像艺术家道格拉斯·戈登。

关于日本前卫音乐家大友良英的纪录片，荷兰鹿特丹电影节参展作品。
这部电影密切追踪大友良英在2005-2007年的演出活动，其中强大的受访阵容十分吸引人。
以下是受访名单：
菊地成孔、大谷能生、DJ Spooky、Jan Švankmajer 、田中泯、宇波拓、杉本拓、Jim O'Rourke 、巻上公一、山本精一、カヒミ・カリィ、浜田真理子、Sachiko M、PHEW、Juana Molina、足立正生、刀根康尚、芳垣安洋、秋田昌美、中村達也、吉田達也、吉田アミ、Utah Kawasaki、中村としまる、秋山徹次、YAMATAKA EYE、灰野敬二、Mitsuru Nasuno、John Zorn、Bill Laswell、ikue mori、Christian Marclay Fred Frith、Jonas Mekas、椹木野衣

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.