《帝国大厦》是一出由美国艺术家安迪·沃霍制作，于1964年首映的黑白无声电影，片场8小时5分钟，内容仅为纽约市帝国大厦于8小时内的变化。沃霍制作此电影的目的是制造一个观赏性极低的电影，因此他禁止人们删减电影情节。可是，一个意大利艺术家却于2000年与安迪·沃霍博物馆合制了此电影的60分钟浓缩版本。

“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。

In 2007, Matthew Barney and Jonathan Bepler began a new collaborative project inspired by American author Norman Mailer's 1983 novel Ancient Evenings, set in pharaonic Egypt. The project was conceived as a nontraditional opera with a series of one-time-only live acts performed across the American landscape. The film River of Fundament combines documentation of these three live acts with scenes set in a reconstruction of Norman Mailer's brownstone apartment in Brooklyn Heights. Barney and Bepler's script reimagines Mailer as his own protagonist who reincarnates three times in three different bodies by magically entering the womb of his wife Hathfertiti. With each incarnation the undead Norman emerges from a river of feces that runs beneath his Brooklyn Heights apartment and enters his own wake. Imagined as a memorial gathering attended by figures in the New York literary world, the wake takes place inside the Mailer apartment as it is ferried down the river. Guests eulogize Mailer and ...

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？」

影片是一部影人传记式的纪录片，《玛雅黛伦的魔镜》（In the Mirror of Maya Deren）是一位醉心于实验电影的女导演玛蒂娜库拉席克，追溯前辈玛雅黛伦生平的作品，玛雅黛伦不仅对前卫电影与女性电影多有启发，她对巫毒教的热中，也是这部片的另一条重要线索。

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.

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

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。

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).

"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.

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."

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.

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.

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

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.

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！