Garabatos

1895 is a picture about the life of brothers Auguste and Louis Lumiere, who have immortalized their names as inventors of cinematography. What inspired them?

The warping lens used to photograph 10th Avenue seems to puzzle the filmmakers.

Black & White, Short Film, United States, Silent.

Pop Warner shows 1890s football equipment and explains to his modern 1931 team how the game was played.

When father decides Richard is old enough to leave his parental home, he sends him out into the world. Only Richard keeps returning home: everytime in a more bizarre way. Somehow he seems attached to the house. When an unfortunate alteration in life takes place, Richard is forced to stand on his own feet.

A 40-year-old middle-class man who loves his domotics to toe the line will figure out, because of a water drop, that things you own end up owning you.

The bizarre adventures of the cartoon character Foska, drawn by 22 animators working in collaboration. Each animator worked on his or her own sequence only and did not know what action preceded or followed his or her sequence, except that the first drawing of a sequence is the last drawing from the previous sequence. Preserved by the Academy Film Archive in 2010.

The story of Shinya Kimura, a creator of custom motorcycles which he designs with a unique philosophy of love, life and simplicity.

An American pilot in the war falls asleep in his plane. His dream mixes up with reality.

The story picks up after an unexplained disagreement between two brothers, Goat and Aaron. To work out their differences, they take a hike together. The beauty of nature brings them back together, but the violence in Goat's heart can't be controlled and it pulls him under.

A glimpse into the lives of thousands of street cleaners who sweep the streets of Kuwait

“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)