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Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

A whirlwind tour of paternal institutions: fatherhood, Lacanian psychoanalysis and bondage.

A short documentary about the First National March on Washington for Lesbian and Gay Rights, which took place on Sunday, October 14th 1979.

A film investigating the nature of spectator perception in an unfamiliar environment. Manipulating the movement of the film direction on the screen much like a camera shutter, Hammer questions the perceptual experience of mass tourism as the Bâteau Mouche endlessly circles the île de la Cité.

It shows a family where the son makes a wish to switch sizes with the father so that he can be the boss for a change. The father doesn't like this at all. After a while, the son slowly realizes that being a grownup isn't all that easy. Unfortunately, the father doesn't seem to realize that the same holds true for being a kid.

A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.

NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. Preserved by the Academy Film Archive in 2017.

In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.

A montage of film clips and stills calling all lesbians to come out and celebrate who they are. In a trilogy of experimental documentaries, director Barbara Hammer rewrites history by inserting lesbians and lesbian imagery throughout educational films, newsreels, medical footage and more from the past century.

From the first kiss to breakup, Almy and Hammer record their relationship on a reel-to-reel ¾” tape recorder and microphone.

Hammer used old x-ray footage, rearranged, colored and orchestrated through optical printing, in order to reveal hidden bodily movements and rhythms in its constant juxtaposition.

A comedy about a troop of shield-bearing Amazons who take over city institutions before relaxing in the country. "Superdyke" takes women into the streets when Barbara arms of a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologiz the consumer mentality at Macy's (to the recorded astonishment of casual shoppers), and wander through the erotic art museum. Barbara's frenetic handheld lens catches the startled reactions and the glee of the participants. SUPERDYKE has a home-movie quality to it, but its committed and loose moments in the playground confirm its comic rationale.

From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.

Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a four-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic.

Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.

1968/69, transferred S8 mm film, 4:3, color, silent, 5:19 min, Edition of 7 + 2AP