A tribute to Alice, the survivor of Friday 13th, edited from a VHS tape.

The march of time claims another casualty. Sack Barrow documents (and laments) the out-dated, but functioning, technology of a family-owned electroplating factory in the weeks around its closure — its old ways now unsustainable in the modern world.

Filmed in various places over the globe, Ghost Strata explores the differing scales of impact that humanity’s presence has on the earth in the past, present and into the future. Found sound and text create a meditation on time, memory, leftovers and extinction.

A delirious sci-fi riff on the Arabian Nights' 'Tale of the Hunchback', that submerges us in a technological dystopia reigned by Dalaya.com, a mega-corporation that forces its employees to 'relax' at company-run medieval reenactments.

“A meditation on the illusion of filmmaking, shot behind the scenes on a film being made on the otherworldly beaches of Sidi Ifni, Morocco. The film depicts strange activities, with no commentary or dialogue; it appears as a fragment of film, dug up in a distant future—a hazy, black-and-white hallucinogenic world.”—Ben Rivers

A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.

Moon travels through a mysterious unexplained world free of adults. Moon meets a scholar turned sage and her translator in a mountain hut, where she tries to understand what is happening, based on a play by Don DeLillo. She meets many others who perform for her, show her a film, give her gifts, show her different possibilities for living. She observes and moves on into an unknown future.

16mm anamorphic To name an attitude black and white suggests reduction, but in this rural, ethnographic portrait the artist unravels a thousand tones of each. How long does it take until this overflowing bath becomes a lake, until the simple forest drive (there is nothing simple here) tranforms these children into airborne angels of light? There is a tender brutality at work here, nothing is polished or smooth or well rounded, instead the advventure of seeing is undertaken ready to fall and bruise, to be wounded by its search. And it is from this necessary wound that the artist joins in with the life of a family grown wild out of doors with the horses and chickens. For its compassion, its refusal of the sentimental, its quick witted montage and dramaturgy of the everyday, the Tiger Award goes to Ah, Liberty!” (Jury Statement, Rotterdam International Film Festival 2008) A family’s place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at an idea of freedom, which is reflected in the hand-processed Scope format, but is undercut with a sense of foreboding. There’s no particular story; beginning, middle or end, just fragments of lives lived, rituals performed. Funded by London Artists Film and Video Award. Tiger Award Best Short Film – International Film Festival Rotterdam 2008 Best Experimental Film – Curtas Vila do Conde Film Festival 2008 Best ExiS Award – ExiS, Seoul 2008 The Badass Spirit of Blackhawk Award – ICE, Iowa 2008 Best Film - Second Prize – Onion City Film Festival, Chicago 2008 Special Mention – Videoex, Switzerland 2008

A mystery that began as a document of abandoned farms in South East England. ‘The Hyrcynium Wood, pictures a woman walking through a cluster of trees, her image doubled and superimposed upon itself, set to a drowning audio bluster of rain, birds, thunder, and screams, the whole shebang washed with organic coronas of hand-processing halos. His films play as fragments of stories, like the crumbly bits of dreams that cling to waking consciousness.’ Ed Halter, Village Voice

“Some things didn’t really matter, you know, some mutations didn’t matter all that much…they were neither beneficial to survival nor detrimental to survival…but if they just hung on, there’d come a time when…that was the thing that saved the day.” Charting the beginnings of the time, through the descent of man, on to an uncertain future - all shot throughout the seasons in the garden of S, who lives in the wilderness and builds contraptions.

“What would be left of human action, human traces, human constructions, human buildings and wider ripple effects of humans after that length of time…assuming, that humans disappear in the geologically near future.” A fragmented road trip through Britain on the peripheries. Down empty roads, off in the wilderness, a few lone stragglers. My first stop geologist Jan Zalasiewicz, talking about the Earth in One-hundred millions years time. ~from the author site~ Ben Rivers’ I Know Where I’m Going documents a road trip undertaken by the artist earlier this year. The title is a nod to the Powell and Pressburger movie of the same name, the location of which – the isle of Mull – provided the end point for the journey. Contrary to the title’s assertion, Rivers didn’t embark with a clear plan of action, depending instead on a faith in ‘serendipity’ and a willingness to let the people he encountered shape the film’s direction. As our slideshow attests, this approach paid dividends; the trip turned out to coincide with February’s intense (and intensely beautiful) snowstorms and saw Rivers encountering a fascinating cast of geologists, beekeepers, hermits and eccentrics. ~apengine.org~ read also:

In this short film of Cowan Court, Rivers has turned his camera onto the interactions between architecture and landscape within which the students of Churchill College, University of Cambridge live and work.

A person is heard fleeing an angry mob – yet the uncannily empty streets show no sign of the chase. A never-ending nightmare. Sound reveals the hidden history in an imagined place.

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

Shooting against the staggering beauty of the Moroccan landscape, from the rugged terrain of the Atlas Mountains to the stark and surreal emptiness of the desert, with its encroaching sands and abandoned film sets, a director abandons his own film set and descends into a hallucinatory, perilous adventure of cruelty, madness and malevolence. A Paul Bowles story combined with observational footage forms a multi-layered excavation into the illusion of cinema itself.

这是一部关于未来、岛屿与乌托邦的电影。电影的拍摄始于导演对于岛屿地理的着迷。Slow Action是一部影像装置电影，拍摄地点分别位于：长崎的军舰岛、太平洋中部的岛国图瓦卢、非洲的兰萨罗特岛以及导演的乌托邦之地Somerset。

The film documents the solitary existence of Jake, a man who lives in isolation in the middle of the forest in remote Scotland. It follows the character's unconventional life, capturing moments of profound beauty. Jack is seen in all seasons, surviving frugally, passing the time with strange projects, living the radical dream he had as a younger man, a dream he spent two years working at sea to realise.