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1974 film by Alain Resnais

Hassan Darabi, a troublesome, amoral 10-year-old boy in a small Iranian town wishes to see the Iran national football team play an important match in Tehran. In order to achieve that, he scams his friends and neighbors.

A woman's feminist awakening drives an intellectual couple to a relationship crisis.

Richard Fleischer repeatedly turned down Dino De Laurentiis' overtures to direct the film. He ultimately relented when he realized that the best way to make the film was to shoot it straight and tell the story as truthfully as he could.

During breaktime, Dara and Nader have a fierce argument about a torn exercise book that the former has given back to the latter. There are two possible outcomes, which the film shows one after the other. One is that Dara wants to get his own back, and the two boys start a violent fight; the other is that they work together to mend the exercise book with a little glue.

A continuous zoom traverses the space of a breakfast table, serving as a grand metaphor for indigestion.

One of the most widely praised American avant-garde films in recent years, James Benning's 1977 feature is a laconic mosaic of single-shot sequences, each offering some sort of image/sound pun or paradox. At once a crypto-narrative with an abstract, peekaboo storyline and a fractured, painterly study of the American midwestern landscape, 11x14 points toward the creation of a new, non-literary but populist cinema.
(James Hoberman, who chose 11 x 14 as one of the top ten films of the seventies (Film Comment, January 1980) and later wrote the above text in The Village Voice)

Spiritualist Blanche Tyler and her cab-driving boyfriend encounter a pair of serial kidnappers while trailing a missing heir in California.

Tullio Hermil is a chauvinist aristocrat who flaunts his mistress to his wife, but when he believes she has been unfaithful he becomes enamored of her again.

A wealthy New Orleans businessman becomes obsessed with a young woman who resembles his late wife.

An interpretation of The Confessions of Saint Augustine featuring an ordinary middle-aged man who undergoes a conversion experience whilst watching an experimental film. - Harvard Film Archive

1977 film

"The film centers on a family. Blaine (Paul Le Mat) lives with his senile father in a tumbledown shack on the edge of a small southwestern town, where Blaine repairs and installs CB radios. When Blaine isn't busy playing CB Vigilante, cutting off the kooks and crazies who misuse the airwaves, he is trying to win back his sweetheart, Pam (Candy Clark), a pretty gym teacher attracted to his staid brother, Dean(Bruce McGill). The development converges in the climax, when the old man, afriad that he's causing his family too much trouble, packs a suitcase and runs off, but loses his wayin a rainstorm. The two brothers and Pam come together to find him, calling for help on the radio. The town's CB users unite to comb the surrounding woods. finding Blaine's father alive and well

The movie is a story told quickly through a series of stills, as in , with quavery synth music and dry French narration..

Sixty one-minute shots with no camera movement. This tension between painterly and cinematic space is not only experienced as an intellectual contrast but is also felt as a dialectic between permanence and impermanence.

Eddie Warmack, an African American jazz musician, is released from prison for the killing of a white gangster. Not willing to play for the mobsters who control the music industry, including clubs and recording studios, Warmack searches for his mentor and grandfather, the legendary jazz musician Poppa Harris.

With a similar dreamy mood like its predecessor "Take the 5:10 to Dreamland" (1976) this clip starts with a boy getting into his bed. The camera zooms in into the boy's mind and a slow, sad waltz (i.e."Valse Triste") accompanies images of a locomotive, a miner, the globe, the sky, a sheep heard, etc. Disparate elements, but if one concentrates only at the movement of the figures, one can perceive a commotion, slowly livening up: The starting wheels of the heavy locomotive, the tired miner pushing the heavy cart of coal bricks, the globe smoothly turning around and around, the clouds imperceptibly floating in the sky, the sheep idly moving in the herd, etc. We reach the first climax when a mannequin opens her coat like a flower. The second big crescendo spurts out from a "water hose", after watching schoolgirls doing gymnastics for quite a while. A sad, but nostalgic aftertaste lingers in the end when funeral cars drive away through a flooded area…

1978 film by François Truffaut

"The Discipline of D.E." is a short 16mm film directed by Gus Van Sant. It’s based on a story in “Exterminator!” by William Burroughs that at times reads like Buddhist noir: "DE is a way of doing. DE simply means doing whatever you do in the easiest most relaxed way you can manage which is also the quickest and most efficient way, as you will find as you advance in DE.You can start right now tidying up your flat, moving furniture or books, washing dishes, making tea, sorting papers. Don't fumble, jerk, grab an object. Drop cool possessive fingers onto it like a gentle old cop making a soft arrest.”