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Experimental filmmaker James Benning returns with this abstract documentary about California's Central Valley, part 1 of his "California Trilogy". Consisting of 35 shots, each over two minutes long, the film quietly portrays nature's subjugation to encroaching commercial interests. This film was screened at the 2000 Sundance Film Festival.

Named after the Shoshonean word for "Earth", this is the third and final part of Benning's "California Trilogy" and his approach to the Californian wilderness in 35 static scenes.

In NORTH ON EVERS James Benning takes the road movie seriously, making his circular trip across the U.S. a marvelously photographed, intensely felt, and disturbing portrait of contemporary America. In many ways, this recent film is a departure of Benning’s earlier films which are characterized, at times, by extremely long, carefully planned takes and a minimal narrative approach. In NORTH ON EVERS, the shots are kept short with a narrative that is direct and detailed, like a diary or a long series of postcards to a friend. What this work shares with the other films is a dry wit and a deep interest in the American social landscape.

Grand Opera marks a stock-taking of Benning's work and his life, presenting a personal and artistic autobiography woven together with a series of events dealing with the historical development of the number pi, Benning's travels, and homages to Michael Snow, Hollis Frampton, George Landow (Owen Land), and Yvonne Rainer.

In summer 2011, James Benning returned to his hometown of Milwaukee to make a third version of his seminal 1977 film 'One Way Boogie Woogie'. In 1977 he filmed 60 locations in Milwaukee’s industrial valley each for 60 seconds, creating short, minimal, playful narratives. In 2004 he remade the film as Twenty Seven Years Later, with the same 60 camera positions. This 2012 installation version, presents 18 locations similar to, and reminiscent of, the original.

Benning continues his examination of Americana in this film through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims in the 1950s. Bernadette Protti was a California teenager who stabbed a friend to death over an insult in 1984.

Scrolling excerpts from the diary of George Wallace's would-be assassin Arthur Bremer at screen bottom, Hank Aaron cards and ephemera from his entire career up top, and alternating audio clips of popular songs and highlights from the news throughout Aaron's career.

A filmic paean to artist Robert Smithson's legendary "earthwork" sculpture, the Spiral Jetty. Created in 1970, the Jetty is a 1,500-foot long spiral-shaped jetty extending into the Great Salt Lake in Utah constructed from rocks, earth, salt and red algae.

Experimental filmmaker James Benning returns with this abstract documentary about California's Central Valley, part 1 of his "California Trilogy". Consisting of 35 shots, each over two minutes long, the film quietly portrays nature's subjugation to encroaching commercial interests. This film was screened at the 2000 Sundance Film Festival.

Iron ore is super heated in a blast furnace to make pig iron, which in turn is used to produce steel. The making of steel is a continuous process. Pig iron is moved from the blast furnace to the steel plant by railroad. The trains are operated by remote control.

An experimental film portraying different skies in very long takes.

Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film.

'After doing a re-make of John Cassevetes’ "Faces" [1968], I decided to re-make another American classic, Dennis Hopper’s "Easy Rider" [1969]. "Easy Rider" interests me in two ways: its portrayal of 60’s counterculture – unlike "Faces" which for me is more about the 50’s – and its search for place. I divided the original film into scenes (like I did with "Faces") and then replaced each scene with one shot filmed at the original location (unlike "Faces" where shots were gleaned from the original film itself). My "Easy Rider" tries to find today’s counter-culture (if one exists) by replacing the 60’s music with music that I listen to today.' ~ James Benning

"Sandy Ding's WATER SPELL is a bold, abstract journey that takes us into the psychic interior of our very cellular structure... and back. For me, this film is about reincarnation and transformation, on both the spiritual and sub-atomic levels. This is not an easy film, but it is a powerful one."

--Nina Menkes

Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival. Ranging from home movies to political essays, musical sketches to abstract studies, these “little films” form a unique anthology of cinematic moments. 20 Little Films collects a selection of these works, premiering together for the Viennale’s 50th anniversary at the Locarno Film Festival.

Using experimental narrative structure as his vehicle, Benning recreates the sensationalized and controversial circumstances surrounding Lorencia Bembenek, aka "Bambi", former "Playboy bunny" turned cop, turned accused and convicted killer who disappeared after a daring escape from prison. The film shows the evolution of Benning's and Bembenek's relationship presented through their actual letters read in voice over which depict the filmmaker's curiosity with the subject as it evolves from intrigue to a love obsession.

Director James Benning turned his attention to the digital world in YouTube Trilogy, organizing found material around three thematic clusters.

This is multifaceted look at the landscape and history of Utah (or Deseret, as the Mormon Church prefers to call it). Benning condenses 93 news stories from the New York Times from 1852 to 1992 (read offscreen by Fred Gardner) and sets them against contemporary Utah landscapes, the shots changing with each sentence.