Birri devoted his energies to opposing social class inequalities in Argentina, yet with the Frondizi government ousted by the military, Birri was forced to leave the country in late 1963. While in political exile he traveled throughout Latin America teaching young filmmakers his craft, eventually returning to Rome due to lack of resources. He spent ten years making the little-seen experimental art film, Org. When it was finally finished in 1978 it so outraged its producer that he ordered it destroyed (though reportedly a print still exists). http://www-sul.stanford.edu/depts/hasrg/latinam/Birri/ggaward.html

In the latter half of the 20th Century, Raymond Rohauer was one of the nation's foremost proponents of experimental cinema. Programming diverse films at the Coronet Theatre in Los Angeles, and making the films in his personal archive available for commercial distribution, he helped preserve and promote avant-garde cinema. This two-DVD collection assembles some of the most influential and eclectic short films in the Rohauer Collection, including works by Man Ray, Hans Richter, Marcel Duchamp, Watson & Webber, Fernand Léger, Joris Ivens, Dimitri Kirsanoff, Jean Epstein, and Orson Welles. Contents: Disc 1 * Le Retour à la raison (Man Ray, France, 1923, 2 min.) * Emak-Bakia (Man Ray, France, 1926, 16 min.) * L'Étoile de mer (Man Ray, France, 1928, 15.5 min.) * Les Mystères du château du Dé (Man Ray, France, 1929, 20 min.) * The Life and Death of 9413, a Hollywood Extra (Slavko Vorkapich, Robert Florey, U.S., 1928, 13 min.) * Ménilmontant (Dimitri Kirsanoff, France, 1926, 37 min.) * Brumes d'automne (Dimitri Kirsanoff, France, 1928, 12 min.) * Lot in Sodom (James Sibley Watson, Melville Webber, U.S., 1933, 27 min.) * Rhythmus 21 (Hans Richter, Germany, 1921, 3 min.) * Vormittagsspuk (Ghosts Before Breakfast) (Hans Richter, Germany, 1928, 9 min.) * Anémic cinéma (Marcel Duchamp, France, 1926, 6.5 min.) * Ballet mécanique (Fernand Léger, France, 1924, 11 min.) * Symphonie diagonale (Viking Eggeling, France, 1924, 7 min.) * Le Vampire (Jean Painlevé, France, 1939, 8.5 min.) * The Hearts of Age (Orson Welles, William Vance, U.S., 1934, 8 min.) Disc 2 * Überfall (Ernö Metzner, Germany, 1928, 22 min.) * La glace à trois faces (Jean Epstein, France, 1927, 33 min.) * Le Tempestaire (Jean Epstein, France, 1947, 22.5 min.) * Romance sentimentale (Sergei Eisenstein, Grigori V. Alexandrov, France, 1930, 20 min.) * Autumn Fire (Herman G. Weinberg, U.S., 1931, 15 min.) * Manhattan (Paul Strand, Charles Sheeler, U.S., 1921, 10 min.) * La Coquille et le clergyman (Germaine Dulac, France, 1926, 31.5 min.) * Regen (Rain) (Joris Ivens, the Netherlands, 1929, 14 min.) * H2O (Ralph Steiner, U.S., 1929, 12 min.) * Even -- As You and I (Roger Barlow, Harry Hay, LeRoy Robbins, U.S., 1937, 12 min.)

一些蛆虫世界里最美味的食物，包括获奖 的“致敬至善”（A Tribute To Sanity），大量的短片，音乐录影带，开放心灵的宣传短片 和大量的杀手片头.注：此片已绝版

一战以前，影院的的艺术家和诗人往往都是激进分子，他们热衷于拍电影并把这种艺术形式向新的方向发展，他们被排除在艺术领域和电影工厂之外，像是被困在一座孤岛上，他们大胆的创造出自己的电影世界并拥有一个自己的工作网络，并作出了不可估量且有力的贡献 This feature-length documentary provides a vivid, eye-opening, and appropriately personal introduction to one of the most important, yet perpetually marginalized, realms of filmmaking: avant-garde cinema. Achieving the near-impossible task of doing justice in a mere 82 minutes to this incredibly rich, varied, and expansive domain, FREE RADICALS is as expertly constructed an introduction to the topic as one could hope for, thanks in large part to the films privileging of rare interviews with some of the most important filmmakers in the avant-garde tradition (including Jonas Mekas, Peter Kubelka, Stan Brakhage, and Hans Richter), and its inclusion of several films in their entirety. The film's sincere admiration for its subject is best reflected by Chodorov's own description: "I wanted to share a few of the films I love and introduce you to some of the free, radical artists who made them."

In the latter half of the 20th Century, Raymond Rohauer was one of the nation's foremost proponents of experimental cinema. This two-disc collection continues Kino's tribute to the Rohauer Collection, including the early works of Stan Brakhage and influential films by Willard Maas, Gregory Markopoulos, Marie Menken, Dimitri Kirsanoff, Jean Mitry, Sidney Peterson and others. The piece de resistance is Jean Isidore Isou's passionate manifesto of film aesthetics Traite de Bave et d'Èternite; (Venom and Eternity), which sparked a riot when it premiered at the Cannes Film Festival in 1951. This edition of Venom includes 34 minutes of footage never seen in the United States. Music composed and performed by Sue Harshe, Larry Marotta and Jon C. Mirsalis Produced for video by Bret Wood Production superviser: Brian Shirey Special thanks to Tim Lanza Licensed by the Douris Corp.

夫妻档设计师Charles (1907-1978) 及 Ray Eames (1912-1988)是20世纪最有影响力的设计师，是建筑、家具和工业设计等现代设计领域的先锋设计师。 卓越的设计涵盖了家具、建筑、影像与平面设计。他们从二次世界大战中美国海军的实验计画中学习经验并发展可谓是现今工业中使用模铸胶合版的先锋，这对设计界的超级夫妇档自1940年参与了由MOMA举办的有机家具设计大赛，自今已有近百件他们的作品被各大博物馆所永久典藏。 The husband and wife team of Charles and Ray Eames were among the finest and most influential American designers of the 20th Century. They are best known for their groundbreaking contributions to architecture, furniture design (the Eames Chair), industrial design and manufacturing, and the photographic arts. In the early 1950s, the Eameses extended their interest and skill in photography into filmmaking. Between 1950 and 1982 they created over one hundred short films, ranging from 1-30 minutes in length, that reflect the breadth and depth of their interests and the integrity of their vision. They also created slide shows and multiscreen presentations. The subjects of the films are diverse: from spinning tops to the world of Franklin and Jefferson, from simple sea creatures to the explanation of advanced mathematical and scientific concepts; such as the workings of the computer. Toccata for Toy Trains and Powers of Ten are two brilliant examples of the Eames' skill, creativity and far-reaching interests. The scores for both those films, and some thirty others, were written by their friend and collaborator, Elmer Bernstein. Their work is playful, complex and insightful. The films all share a flavour of using the found object or showing some everyday aspect of life in a new way - what Charles referred to as "The uncommon beauty of common things". Animation and macro-photography are often used, to great effect. From a film about washing an asphalt playground to a wondrous montage of toy trains, they often convey the excitement of the old compared to the new and also the sheer elegance born of an innate understanding of design and its power to communicate.

三十多岁的女性乔迪（Jodie）面临着寻找伴侣并生育子女的压力。当她参加枪炮与玫瑰（Guns N' Roses）乐队的演唱会时，她以为自己可能遇到了一个潜在的追求者——直到对方玩起了消失。

库尔德裔少女伊拉哈自小在德国长大，但生活圈子总围绕家人与同胞。她打算与任职的洗衣店东主的弟弟结婚，而族人保守的观念规定妻子未始前必须是处子之身，令早已有性经验的伊拉哈感为难。而当未来夫家要求她去医院验明正身，更迫使她四出找寻方法重塑处女膜，但同时也让她反思文化身份与个人自由之间的冲突。本片细致入微的剧本并没有妖魔化传统价值，反而从描写家庭和社群对伊拉哈的重要性，突显主角所陷的两难局面。主角丝丝入扣的真挚演出，为她赢得New Faces Awards的最佳女演员奖。