The Invisible Frame

In 1988, Tilda Swinton toured round the Berlin Wall on a bicycle - starting and ending at the Brandenburg Gate - accompanied by filmmaker Cynthia Beatt. As Swinton travels through fields and historic neighborhoods, past lakes and massive concrete apartment buildings, the Wall is a constant presence.

The eponymous party is hosted by Queenie and Burrs, long-term lovers who are rapidly growing apart.

This film with a marked ethnographic nature, which was filmed without a pre-established plan and with a script that crosses the lines of documentary and fiction, tells the story of a group of five Germans who arrive on a remote island in the South Pacific called Parapara and belonging to Vanuatu. Their aim is to prepare a publication on the lives of the inhabitants of this remote island. The tasks were personally assigned: one would study the language, another would study the fauna; another the traditions, institutions and family systems; another the plants and another the songs and stories. However, the blind trust in the western scientific objective clashes head-on with the values and customs of the natives. Therefore, from the very beginning, the head of the tribe does not cease to ask and express his surprise regarding some foreigners “who have not come to rob his land”.

The whole world in one film: Robert, a young Dane, is shanghaied in Marseille, and via Acapulco he is abducted into the South Pacific. There he kills his father and seduces his mother. Then he explores the changing world. The end finds him in a Polynesian village, where the chief bestows him with a girl of his age-class. A novel of adventure, a novel of love, also an oratory of some sort.

IT specialist Victor Faber makes a living securing computers for large corporations and banks. His reclusive private life is upended when he falls in love with a strange woman named Juliet. Her friend convinces Faber to exploit his knowledge to rob a bank.

Loosely adapted from Goethe's novel on the social conventions of marriage raised to level of symbolic parable.

In 1988, Tilda Swinton toured round the Berlin Wall on a bicycle - starting and ending at the Brandenburg Gate - accompanied by filmmaker Cynthia Beatt. As Swinton travels through fields and historic neighborhoods, past lakes and massive concrete apartment buildings, the Wall is a constant presence.

An architect is assigned to modernize a squatted house in the Kreuzberg district of Berlin. But then he meets a young student who is member of a grassroots initiative trying to preserve the quarter. He falls in love with her, although this puts him into conflict with his job. Following his heart, the architect soon changes sides and supports the inhabitants in their struggle against the real estate speculators.

Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.

The notorious pirate ruler Madame X places a print ad, calling on women to escape their boring lives and promising "gold, love and adventure" to all who come aboard her ship, the Orlando. A motley crew including a housewife, diva and artist (played by Yvonne Rainer) embark on a quest for self-transformation, which quickly heads towards destruction as they are subjected to Madame X's sadistic, erotic escapades.

"Constant" is a journey through the social and political histories of measurement. For most of recorded history, the human body was the measure of all things. “Constant” asks what led measurement to depart from the body and become a science unto itself. The film explores three shifts in the history of measurement standardization, from the land surveying that drove Early Modern European land privatization, to the French Revolution that drove the Metric Revolution, to the conceptual dematerialisation of measurement in the contemporary era of Big Science. Each chapter traces the relationship of measurement standardization to ideas of egalitarianism, agency, justice, and power. Cinematic and technical images that begin as products of measurement systems are stretched beyond their functions to describe the resistance of lived experience to symbolic abstractions.

After decades abroad, Iona returns to her childhood home on Fiji, sensing that there she might find the answers to many questions she has about civilisation and its discontent.

A Glasgow woman inherits a house in Berlin and has her eyes opened

He Saw Her Burning, which is based on a 1983 performance, is a provocative narrative collage, a surreal juxtaposition of two narrated texts. A man and a woman begin their respective tales: He saw a woman burst into flames on the street; she saw an American soldier go berserk and drive a tank into a crowd. Produced while Jonas was living in Berlin on an artist's fellowship, the disjunctive narratives are pervaded with a sense of cultural dislocation and alienation. The man and woman occupy separate narrative spaces as they tell their stories, which are intercut with a pastiche of word games, narrative reenactments, filmed sequences, isolated gestures and objects. Memory — elusive and ephemeral, personal and collective — is the catalyst for this complex work.

Documentary on the city of Berlin and a personal essay on alienation and being an alien in that city. Cyn­thia Beatt raises questions and provokes reflec­tion on a wide range of issues concerning language and culture, politics and history.