A seraphic exploration of the unreal in a cut-out collage, where the fairies frolic amongst butterflies and other interlopers in their two-dimensional realm.

"I wanted to do a film which dealt with drawings which somehow had a life of their own, which existed in the same space as real objects and yet still had their own two-dimensional space... imagery that didn't refer to anything in our visual vocabulary, and also was so non-objective that it didn't...

The title tells the tale: behind-the-scenes during the filming of the legendary live-action feature-length film by Lawrence Jordan. Transferred from the original 8mm footage and presented sans soundtrack (as the initial material was photographed without sound). Filmed during the mid-1970s in Layt...

A series of surreal titles are rapidly alternated with cut-out animation. The titles are often simple and the words and images combine easily into an eerie flickering superimposition. Lawrence Jordan was interested in pressing this technique to the limit of informational overload. Sometimes the e...

In a shifting landscape of dirt and sky, excavation and construction merge. Figures move back and forth between life and death (and possibly somewhere else). The ephemerality of existence is a mundane question in this world, where numbers mark the way. The floor of the world turns out to be easil...

FLOWERS OF THE SKY (a medieval term for comets) draws on two panoramic photographs found in a Los Angeles thrift shop that depict a gathering of members of the Eastern Star, a Masonic order. In the first photograph, taken at a banquet meal, the participants are seated at tables and face the camer...

A young woman lost in the woods meets a Nephilim.

In the THE FORTY-AND-ONE NIGHTS, painter and collage artist Jess (Collins) performs his "Didactic Nickelodeon" of forty-one (now lost) collages to (his) selected sound bits in the manner of a turn-of-the-century cinematic jukebox.

Four short films adapted from the poetry of James Broughton: GAME LITTLE GLADYS; THE GARDENER'S SON; PRINCESS PRINTEMPS; and THE AGING BALLETOMANE. Delightful and sentimental, the interludes recall silent cinema, full of playful mime and dreamy reverie. As such, the vignettes offer a welcome anti...

The ancient Greeks divided the night into four sections; the last watch before morning was called the fourth watch. In the hours before dawn, an endless succession of rooms is inhabited by silent film figures occupying the flickering space in a mid-century house made of printed tin. Their presenc...

FUTURE LANGUAGE: THE DIMENSIONS OF VON LMO is a distorted portrait of an artist that explores storytelling, ego, delusion, conviction and memory. Von LMO is a musician/artist and self-proclaimed alien-hybrid who was a part of the late-'70s New York No Wave music scene. Between trips to his home p...

Under erratic skies, a solitary figure navigates a landscape of constructed nature and broken bones. She peers through a decaying aperture, waiting and watching: the fragility of the body is exposed for what it is: ephemeral, liquid, a battlefield of nervous dreams. Using found and natural objec...

Junk mail detritus forms a handicraft salute to new media. The third part of the UNSUBSCRIBE series.

Frenetic and impressionistic, this nocturnal foray through San Francisco's streets (heightened by a stop at a nightclub) delivers a thrill-hit of ebullient adrenaline. The rush of excitement, of anonymity, of adventure, of being alive, of potentially meeting someone new is palpable. Somewhere in ...

What if the "Looking Glass" were, at the same time, a window and a mirror; if the window was the mirror, the mirror the window? And your projection through this transparent/reflective plane did bring you to a world that is as externally rich as the self, in its internal churning, shifting through...

A pixelated voyage within a labyrinth of alienation and decay. Our eyes flicker to life and we are thrown into a shape-shifting world where the sidewalks are endless, the radio is playing electric and the night-sky’s broken open by a cataclysm of shuddering stars. Here we channel the Zone in a fl...

The second—albeit completed first—of the H.D. TRILOGY (consisting of THE BLACK OUD, this film and STAR OF DAY). Adapted from THE GROVE OF ACADEME, the second part of HERMETIC DEFINITION.

Animation. The theme is weightlessness. Objects and characters are cut loose from habitual meanings as well as tensions and gravitational limitations. A lyric Erik Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are pos...

"H2O depicts water under a variety of forms, increasingly focusing on its ability to create a multileveled reality of surface and reflection. Ultimately, the film reduces a phantasmagoria of light and shadow that render its simple title almost ludicrous." — Scott MacDonald

Featuring a score comp...

The strangeness of HAMFAT ASAR is laced with carefully molded apocalypses as the filmmaker explores a vision of life beyond death. A moving single picture. Evolving the structure or script for the film involved a process of controlled hallucination, whereby the filmmaker sat quietly without movin...

HANDS is an ingenious piece of propaganda that communicated not only through its content but through the very unconventionality of its "experimental structure." The film suggests that the government that produced it is imaginative and inventive, open to new possibilities and supportive of forms o...

A microscopic exploration of Japanese comics, candies, maps, washi tape, origami papers, magazines, gambling newspapers, porn, rice, ramen, flowers and marriage. The film is inspired by early direct-on-film works in the spirit of Len Lye. HANEMUN's editing is loosely informed by the Haiku 5-7-5 s...

A repository of fashion, pleasure and instruction, HARPER'S BAZAR first appeared in 1867 as a weekly publication showcasing European fashion for prosperous women on the opposite side of the Atlantic. Lawrence Jordan uses these nascent materials (before the magazine expanded to an additional "A" t...

"It's nothing at all. Absolutely nothing. It was a joke. I wanted to make a parody of Jean Cocteau's first film [THE BLOOD OF A POET]. That's all. We shot it in two hours, for fun, on Sunday afternoon. It has no sort of meaning." - Orson Welles