P. Adams Sitney

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.

BRAKHAGE explores the depth and breadth of the filmmaker’s genius, the exquisite splendor of his films, his magic personal charm, his aesthetic fellow travelers, and the influence his work has had on generations of other creators. While touching on significant moments in Brakhage’s biography, the film celebrates Brakhage’s visionary genius, and explores the extraordinary artistic possibilities of cinema, a medium mostly known only for its commercial applications in the form of narratives, cartoons, documentaries, and advertising. BRAKHAGE combines excerpts from Brakhage’s films and films of other avant-garde filmmakers (eg, George Kuchar, Jonas Mekas, Willie Varela, Bruce Elder, and others); interviews with Brakhage, his friends, family, colleagues, and critics; archival footage of Brakhage spanning the past thirty-five years; and location shooting in Boulder, Colorado and New York.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

An elegy for a Newfoundland dog named Melville and a portrait of his owner.

A tribute to Jonas Mekas' late friend and patron, Jerome Hill. Filmed on 16mm across three visits to Hill’s estate in Cassis, France, the film plays out as a tender visual diary of memory, passing time, and artistic exile. While the film focuses on daily life rather than explicit sexuality, it breathes with queer history. Hill was a closeted gay philanthropist who used his immense wealth to shelter and fund underground, heavily queer creatives. Mekas captures the warm, intimate atmosphere of this sanctuary, featuring legendary gay avant-garde icons like Warhol superstar Taylor Mead and actor Charles Rydell. Dedicated "to the wind of Lithuania" and featured in the 1979 Whitney Biennial, the film ultimately stands as a beautifully soft, authentic time capsule of a safe haven built by and for mid-century queer radicals.

Various unrelated vignettes, often juxtaposing sound and image.

In 1969, Leonardi traveled to the United States to write a book about the New American Cinema. Using a Super-8 camera, he made a film-diary of this experience between New York and San Francisco. During his journey, the director’s love for experimental cinema was shaken by overwhelming political events, which forged a profound social conscience.

This, the third of the Sexual Meditation Series, might also be seen as a triangular portrait of Julia and P. Adams Sitney and Jane Brakhage.

Children of the water world drift the ocean in an empty crystal ball, swim in beaded beds of mist, and spawn in pools of murder to see a lantern sunk in the pit of an empty space.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.