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Two 16mm films are projected in a loop on a thin painted aluminum screen hanging in the middle of a room. We can hear the projectors at each end of the room, which project images on the central screen. We can see the same scene on each side of the screen: a woman, seen from the front and front back depending on the side of the screen, painting it with spray paint. A man then tears up the screen and goes through it, followed by the woman. We can see Michael Snow sitting further away, giving instructions to the woman. We can also see the cameras filming the scene from each side. Visitors in the room can walk around the screen and thus watch the scene from one angle or another. Both films are projected in synchronicity on the two sides of the screen.

Lamentations: A Monument to the Dead World belongs to a 35-hour film cycle, The Book of All the Dead, which comprises the bulk of Toronto-based Bruce Elder’s filmmaking from 1975 to 1994. In ancient Egyptian culture, the Book of the Dead consisted of religious texts intended to help preserve the spirit of the departed in the afterlife — but in Elder’s reading, that comforting idea of continuity takes on a rather darker cast. Lamentations is comprised of a complex audio and visual patchwork: a philosophical meditation superimposed as text throughout the film; vignettes featuring a comical but disturbing Franz Liszt, a debate between Isaac Newton and George Berkeley, an angry, deranged man in an alley, and an arrogant psychiatrist; and a final search for salvation in the forests of British Columbia, the American Southwest, and Mexico’s Yucatan.

Various unrelated vignettes, often juxtaposing sound and image.

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.

A 1971 experimental Canadian film directed by Michael Snow. Shot in the Canadian mountains over a period of 24 hours using a robotic arm.

A cutout of a woman's silhouette is displayed in many locations while a free jazz soundtrack is heard. The jazz musicians later pose for the camera in a studio.

A camera moves back and forth at an increasing pace. Back and forth, back and forth...

Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

Panning shot of a room while a group of people discusses film while eating at a table.

This is an interesting little documentary about the Nova Scotia College of Art and Design, which was apparently one of the global hotbeds of experimental/avant garde art- particularly video art- back in the 70's & 80's. MacGillvary interviews a number of the artists that were formative to the program. Many of whom would go on to become teachers at the school.

In a Lower Manhattan industrial loft, a camera very slowly zooms into a photograph on a wall while various people occasionally enter and exit.

In this "fourteen-part drill for the camera," Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary activities.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

"Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of three historic montage styles, for three perceptual modes mimed by that work." -HF

A loop of two parts of a film, superimposed on top of one another, that concern a man who has arrived at the house of his lover and her husband to hang a painting on their wall.