is a series of five films by Rosemarie Trockel, made between 2000 and 2002.

By creating unfamiliar characters with uncertain intentions, Trockel draws on a constellation of emotions to provoke, sometimes humorously, unsettling questions about generally held notions of identity.

is a 2016 documentary by Fabrizio Terranova.

Through the act of story-telling, this documentary operates as a cat cradle of past and speculative futures guided by American philosopher Donna Haraway whose theoretical framework crosses the subjects of science, technology, gender and species, proposing new ways of thinking beyond dualisms.

is a 1983 film by Fischli & Weiss.

As they hike through the mountains, at the mercy of the elements and all kinds of miracles ‐ and above all, at the mercy of themselves, Rat and Bear try to find reasons for all they see and experience, getting closer then expected to the right way. (caution: contains animal cruelty)

is a 1968 film by Jean-Luc Godard.

The film intercuts footage of the Rolling Stones working on the song "Sympathy for the Devil" in a studio; Anne Wiazemsky as "Eve Democracy," sauntering through London in a gown as she is being interviewed by a TV reporter; and other scenes examining capitalism, activism, and political conflict.

In his original version of the film, entitled One Plus One, Godard intentionally omitted the final studio recording of the song‐an indication, to some, that the work of the "people's revolution" remained unfinished. However, producer Ian Quarrier, in a bid to give Stones fans what they wanted, insisted on putting the complete song back in, and renamed the film Sympathy for the Devil.

is a 1968 fiction/documentary hybrid by William Greaves.

Greaves presides over a collective film crew in New York's Central Park, leaving them to try to figure out what kind of movie they're making. A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies, expanded thirty-five years later by its unconventional follow-up, Symbiopsychotaxiplasm: Take 2½.

is a 2001 film by Quentin Dupieux.

A man, Vince, wakes up in the middle of a film shoot. He doesn't know what's going on or why he's there, but crew members tell him he's one of the actors in the film so he decides to just play along. During the shooting of one scene, one of the other actors, 122, accidentally kills most of the crew. Vince, 122 and the remaining crew decide to finish the film by themselves, even though there's no script, no sound equipment (they decide to make it a silent film) and no camera (they then decide to also make it a "blind" film).

is a 1927 silent film by Walter Ruttmann.

An emblematic 'city symphony' film structured to follow the life of Berlin and its inhabitants across the course of a single day, from dawn to dusk, to create "a symphonic film with the thousandfold energies that make up the life of a great city."

A musical score for an orchestra to accompany the silent film was written by Edmund Meisel.

is a 2009 documentary by Bartek Konopka.

The untold story of wild rabbits which lived between the Berlin Walls. For 28 years Death Zone was their safest home. Full of grass, no predators, guards protecting them from human disturbance. They were closed but happy. When their population grew up to thousands, guards started to remove them. But rabbits survived and stayed there. Unfortunately one day the wall fell down. Rabbits had to abandon comfortable system. They moved to West Berlin and have been living there in a few colonies since then. They are still learning how to live in the free world, same as we - the citizens of Eastern Europe. (caution: contains animal cruelty)

is a 1976 short experimental film by Gordon Matta-Clark.

This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: "In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition 'Soho in Berlin,' Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance." The film records Matta-Clark as he stencils 'Made in America' on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. A remarkable record of a little-known Matta-Clark performance, this work is also a historical time capsule of a political and physical landscape that no longer exists.

is a 1972 experimental film by Lis Rhodes.

It is one of the films that she made in her years as a student in the media course at the North East London Polytechnic. Rhodes' work is recognized for having experimented with the audiovisual language, linking its aesthetic proposal with a political questioning of the conventional forms of both the film field and society.

In Dresden Dynamo, there is an interest in the experimentation of aesthetic forms in cinema. The projected images are a result ‐ apparently accidental ‐ of the use of Letraset and Letratone. Lis Rhodes used the Letratone on an blank soundtrack tape, producing a sequence of particular sounds. The result of this experimentation of the material, as well as the audiovisual language, becomes a game of forms in different patterns of colors, sounds and movements. In this way, the rhythm of the geometric images exposed is consistent with the sounds produced by them. The sequentiality of the visual and sound patterns is reproduced continuously without altering the rhythm, playing with the position of the geometric shapes in terms of depth and movement.

is a 1988 short film by Chris Marker.

We see a shot of the keys of a synthesizer with piano music starting. The camera pans around revealing a cat stretched out on the keyboard "listening" to the music, as the title indicates. Because the cat is not content with just listening, it reacts to key moments in the music. The film is one of three parts to a video anthology called Bestiaire.

is a 1979 short film, conceived & performed by David Van Tieghem, produced and directed by John Sanborn & Kit Fitzgerald.

In Ear to the Ground, David Van Tieghem uses the city of Manhattan as his musical instrument, playing the surfaces of the sidewalks, buildings and phone booths with his drumsticks to elicit an ingenious range of percussive sounds.

is a 1970 film by Werner Herzog.

Dwarfs confined in an institution on a remote island rebel against the guards and director, also dwarfs, in a display of mayhem. They gleefully break windows and dishes, cackle maniacally, abandon a running truck to drive itself in circles, engineer food fights and cock fights, look at pin-up magazines, set fire to pots of flowers, kill a large pig, torment some blind dwarfs, and perform a mock crucifixion of a monkey. (caution: contains animal cruelty)

is a 2015 documentary by Laurie Anderson.

A cinematic tone poem that flows from a sustained meditation on death and other forms of absence, then seamlessly weaves together thoughts on Tibetan Buddhism, reincarnation, the modern surveillance state, and the artistic lives of dogs, all in elegy for Anderson's beloved rat terrier, Lolabelle.

is a 2019 documentary by Louie Schwartzberg.

Imagine an organism that feeds you, heals you, reveals secrets of the universe and could help save the planet. Fantastic Fungi is a revelatory time-lapse journey, about the magical, mysterious and medicinal world of fungi and their power to heal, sustain and contribute to the regeneration of life.

is a 1969 film by Dariush Mehrjui.

In a small village in Iran, Hassan cherishes his cow more than anything in the world. While he is away, the cow mysteriously dies, and the villagers protectively try to convince Hassan the cow has wandered off. Grief stricken, Hassan begins to believe he is his own beloved bovine.

The film was written by Gholam-Hossein Saedi based on his own play and novel, and starring Ezzatolah Entezami as Masht Hassan. Some critics consider it the first film of the Iranian New Wave.

is a 1990 film by Richard Linklater.

Slacker follows a single day in the life of an ensemble of mostly under-30 bohemians and misfits in Austin, Texas. Where a merry-go-round of amateur philosophers, jilted lovers, inept criminals, aspiring artists, and whacked-out conspiracy theorists searches for a place to be. We meet various eccentric and misfit characters and scenes, never staying with one character or conversation for more than a few minutes before picking up someone else in the scene and following them.

is a 2000 documentary by Agnes Varda.

Her extraordinary late-career renaissance began with this wonderfully idiosyncratic, self-reflexive documentary in which the French cinema icon explores the world of modern-day gleaners: those living on the margins who survive by foraging for what society throws away.

Embracing the intimacy and freedom of digital filmmaking, Varda posits herself as a kind of gleaner of images and ideas, one whose generous, expansive vision makes room for ruminations on everything from aging to the birth of cinema to the beauty of heart-shaped potatoes. By turns playful, philosophical, and subtly political, The Gleaners and I is a warmly human reflection on the contradictions of our consumerist world from an artist who, like her subjects, finds unexpected richness where few think to look.