“Street Film 10 and 5” doesn’t resemble “Street Film 10” or “Street Film 5” (which was used for Street Film Part Zero Reel 5)

The final part in the core Street Film series.

The Street Film series is one of Fulton’s greatest experimental undertakings, challenging viewers to look beyond their preconceptions of filmmaking’s basic tools for conveying time and perceiving image. “Street Film 10 and 5” doesn’t resemble “Street Film 10” or “Street Film 5” (which was used for Street Film Part Zero Reel 5)

"Street Film: Part One" is a metaphor for modern post-industrial life.

Time-lapse imagery, an Omega watch, a cigarette, single frames, the human hand, personal writings, a soprano saxophone in images and sound, a mirrored self-portrait in motion with the camera, Street Film Part 17 feels like a summary of everything Fulton in three minutes.

Part 14 in the Street Film series.

A cascading tapestry of sight and sound, rejecting nothing, clinging to nothing, saturating and ultimately defeating the discriminating mind, until unstructured primary space begins to unfold within the viewer.

Robert Gardner interviews Frances H. Flaherty about the production of The Fishermen of Aran.

Former Tendokai Sixth-Generation Chairman Kazuma Washio (Hitoshi Ozawa) waited for a man in a VIP room at a high-end bar. The man was Sasahara Goro (Tetsu Watanabe), a former police officer who secretly orchestrated the conflict between Tendokai and the Tōnin Rengō. Now, Sasahara was the Tokyo Metropolitan Police Commissioner. Washio demanded Sasahara arrange a meeting with Prime Minister Kenzō Anan (Ikki Hankai). Meanwhile, at Washio-gumi, the Sankōkai—the group that led to the disbandment of Tendokai—arrived. The current leader, Daiki Yabuta (Kenji Matsuda), was once a close ally of Okita. Yabuta proposed an alliance with Washio-gumi and asked Okita to join forces. What is Yabuta's true intention, and what will Okita decide?

Several shots of the carnival in Nice, floats and parade costumes, passing along the crowded streets.