Filmed in the lost territories of the Balkans, RUINS RIDER portrays the secret ruins that triggered trances over the past centuries. Using an array of hypnotic pulsating flickers, filmmaker Pierre-Luc Vaillancourt conceived an explosive kinetic experience. Accompanied by a powerful soundtrack by Marc Hurtado of the cult project Etant Donnes, RUINS RIDER is a visceral experience of hypnagogic archeology and raw energy.

Manhatta documents the look of early-20th-century Manhattan. With the city as subject, the film consists of 65 shots sequenced in a loose non-narrative structure, beginning with a ferry approaching Manhattan and ending with a sunset view from a skyscraper. The primary objective of the film is to explore the relationship between photography and film; camera movement is kept to a minimum, as is incidental motion within each shot. Each frame provides...

16mm 1.37:1 color sound, 11:46 minutes; music Bumblebees Sip Honey by Peliatan Gamelan; mastered from a composite print; courtesy of the filmmaker, Chicago Film Archives. DL2 reflects the influence of the American Bauhaus movement in Chicago introduced by Laszlo Moholy-Nagy during the late 30s/early 40s. The film was made by shocking 10-foot strips of unprocessed black and white film into tanks of cold water, fixer, hot water, developer and then repeating...

16mm 1.37:1 color sound, 5:43 minutes; camera Sandy D'Annunzio; music Indiran; with Lee Vogt, Amy Greenfield, Chuck Williams, Steven Holly, Joel Polinsky, Don Young, Tom Vint; preserved by Amy Greenfield at WRS Film Lab from camera originals; courtesy of the filmmaker. _Transport_ came out of many influences in the early 1970s: the dead of Vietnam; the poem by my poetry teacher Anne Sexton, _For God While Sleeping_; the post-modern dance experiments...

16mm 1.37:1 color sound, 9:59 minutes; preserved by Academy Film Archive in 1999 at Triage Motion Picture Services from camera original sand magnetic soundtrack archived at Pacific Film Archives; mastered from the 35mm preservation negative; 1080p digital restoration by Bruce Posner at DuArt Video, FilmVideoDigital, and Gustavo Matamoros; courtesy of the filmmaker.

Shot on Super 16mm, GOOD LUCK is a portrait of two mining communities operating on opposite sides of a hostile world: the State employees of a 400m-deep underground Serbian copper mine and the laborers of an illegal gold mine in the jungle tropics of Suriname. Official Selection at the **Toronto International Film Festival**, and **Locarno International Film Festival**.

16mm 1.37:1 black & white sound, 8:26 minutes; courtesy of the filmmaker._- George Landow_

35mm 1.33:1 black & white silent 20fps, 6:40 minutes; production assistance Man Ray, Marc Allégret; new music by Gustavo Matamoros; preserved by Det Danske Filminstitut. Thought provoking and offensive are possible ways to interpret the ten optical discs and corresponding puns displayed in the film. The word play fo French syllogisms gleefully collides with the protruding-receding optical illusions of the rotating spheres. Julien Levy called the...

16mm 1.37:1 color sound, 6:40 minutes; music _Django_ by John Lewis, played by the Modern Jass Quartet; courtesy of Angeline Pike, Creative Film Society. _Gyromorphosis_ strives to bring into actuality the inherent kinetic qualities seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize [sic] this aim I have put into motion, one by one, pieces of this sculpture and, with colored lighting, filmed them in various detail,...

35mm 1.33:1 black & white silent 24fps, 8:53 minutes; new music by Donald Sosin; preserved by Gosfilmofond of Russia. The most fantastic effects were secured in shooting sheer heights ... It was partly the architectural wonder of New York that made the film so stirring, but, really, it was the artist's touch that moved one, the catching of mood, line, color, and feeling in the strange, walled city.-_Marguerite Tazelaar_