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

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

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."

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."

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.

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.

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.

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.

本片以电影剧照、电影宣传照、导演工作照和演员照片等引来夸张搞笑的动画，道尽一部优秀电影的出炉是何其艰难，其中的一把辛酸泪只有电影人自己才知。 　　编剧要通过不断地与稍纵即逝的灵感做斗争，才能写出自己和导演都满意的剧本；可是他们满意的剧本，相关审查部门总能找出各种各样的问题，于是最终到达他们手上的剧本，可能已与原来的大相径庭；之后，导演开始与摄影师、美工、场记等人员一遍遍地沟通，敲定细节，找寻合适的演员；拍摄中，问题会一个接一个出现，有些镜头要重复拍摄许多次；拍完剪完，要再送有关部门审查，如果他们提出修改意见，有些镜头必须重拍；好不容易电影上映了，该电影的所有工作人员又要忐忑不安地等待观众的检验。

本片以电影剧照、电影宣传照、导演工作照和演员照片等引来夸张搞笑的动画，道尽一部优秀电影的出炉是何其艰难，其中的一把辛酸泪只有电影人自己才知。 　　编剧要通过不断地与稍纵即逝的灵感做斗争，才能写出自己和导演都满意的剧本；可是他们满意的剧本，相关审查部门总能找出各种各样的问题，于是最终到达他们手上的剧本，可能已与原来的大相径庭；之后，导演开始与摄影师、美工、场记等人员一遍遍地沟通，敲定细节，找寻合适的演员；拍摄中，问题会一个接一个出现，有些镜头要重复拍摄许多次；拍完剪完，要再送有关部门审查，如果他们提出修改意见，有些镜头必须重拍；好不容易电影上映了，该电影的所有工作人员又要忐忑不安地等待观众的检验。