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Performance by Edward Luyken in his Paris home. Luyken wears overalls like those worn by German tank soldiers. First he plays with a kind of amulet, then he makes small objects by stacking and sliding together clumps of various sizes. This activity is intermittently interrupted when Luyken has to rewind the spring of his camera every twenty seconds.

Foreman spent the early months of 1979 rehearsing a play called Madness and Tranquility (My Head Was a Sledgehammer), which he abruptly cancelled very shortly before its scheduled opening. Film critic and longtime CalArts professor Berenice Reynaud documented those rehearsals and used the footage in this rarely screened essay film, which had long been considered lost. Miraculously, Anthology has recently rediscovered the original 16mm elements and has digitally restored the film for this occasion. A truly exciting find that presents the only known footage of an important, albeit lost, Foreman work.

A woman kicks a man who is doing his morning ablutions on the backside, then laughs at her actions. One way for a woman to get rid of a man. Screened in France upon its release ahead of La Grande Bouffe (1973, Marco Ferreri).

France, 1972. Albertine, a teenager in rebellion against school, the rancid family and religion, asserts her rights to a sexuality without obstacles. Wiith her friends, and the right to the abortion for the minor ones. With her friends, she campaigns for the rights to sexual pleasure and abortion for minor girls.

The story centers on a woman confined within a "square" apartment with an infant, where her existence is defined by a repetitive cycle of nursing, weighing, counting, and record-keeping. A turning point occurs when she rebels against a "false choice" presented by a traveling salesman; this act of defiance allows her to finally find the words to speak to the child about her true desires.

24fps, 16mm dairy film by Pierre Parat

This very singular self-portrait produced for a television platform, and which by the device of its own that it presents (shifted sound in voice-over) distinguishes this work from any tribune and deserves its title: Tribune sans tribun.

A boxing match that turns into an erotic dance and lovemaking between two boxers, while the spectators watching become hysterical.

A brief history of the various harvesting techniques since wheat has existed.

A laundress, two women in a convertible, a passerby, and a young girl find themselves brought together in various ways by the director's sole will. During three encounters, they contemplate or discuss a photograph showing two white poodles. This short film's pace is reminiscent of a cartoon.

Dansité is the visualization, in cinematic space and time, of two bodies in motion; mobile, immobile, intertwined, broken, tense, restrained, suspended between heaven and earth, sand and rock, they suddenly stop, fixing the eternity of the moment.

A presentation of the Ngbaka musical bow and how it is made. This instrument is used for ritual purposes by the Ngbaka huntsmen of the forests of the Central African Republic.

A short film by Paul Dopff.

The ruins of Oradour: there were 672 victims, burned and methodically massacred by the Nazis. In the face of resurgent fascism, it is forbidden to forget.

Short documentary about La Hunaudaye's castle.

In 1976 an anarchist exiled in Paris returned to Spain. He feels disappointed, comparing the anarchism of Barcelona in 1936 and the situation of Western democracy today. it is the story of 'a long night' that ends, a night that he understands as dictatorship and repression. A night in which ideas, sensations and memories intermingle.

JEMINA, THE MOUTAIN GIRL is playing with various elements : literary sterotypes of the F.Scott Fitzgerald novel, inflamed romantism of a Viennese waltz, idealized feminine beauty through lengthy shots, some white and some black, burst of color, intrusion of rose, and green. The film is mocking classic hollywood cinema and undertake the fundamental discontinuity of every film, of every filmic text. Pleasure of the text, pleasure of cinema.

A short film about all facets of the Parisian Gothic basilica, which features both a cathedral and a necropolis, the latter containing tombs of French kings, from the 10th to the 19th century. With excerpts from Bossuet's funeral orations and quotes from Suger, abbot at Saint-Denis during the 12th century.

A young girl succumbs to the charm of a Don Juan who abandons her after having given her a child.

This film is a supertemporal oeuvre. The support of the audience's participations is constitued by an image, which has varied several times during the course of many a projection. A projection by Maurice Lemaître, himself, in the soundtrack, clarifies the function of the session and finishes on a challenge thrown to the room.

TI-PRI (The Mud House, 1972) is a poetic homage to subsistance farming in Brittany and at the same time a militant warning against the loss of Breton culture and language. When the film screened in Oberhausen in 1973, resistance against the oppression of minority languages and cultures within centralized France was at its peak. TI-PRI was director Philippe Cassard's first film.

That which changes and that which remains.

Camargue, south of France. In the middle of the swamps, birds and bulls are the only inhabitants in one of the last surviving wildernesses in France.

Music as sensuous and longing as a fragrance. Phrases that rise and fall slowly at first, then more and more passionately. A love poem. And also a study of the relation between film phrases and musical phrases. As in the music, the film uses only fades and dissolves between statements. Based on Samuel Barber's "Adagio for Strings."

Sequences of magazine advertisements from the seventies create a fantastical and erotic universe.

Rapid rhythms due to a geometrical treatment of the images, of which most of the chisellings are oblique lines. Insertion were made with film scraps inside the chisellings. A seventeenth century music adds a touch of original anachronism to the film and dialogue with the reading of a superficial text about Rudolph Valentino.

At a strictly Catholic boys' school, sixteen-year-old André Sevrais forms an emotionally intense friendship with fourteen-year-old Serge Souplier. Their bond draws the attention of the Abbé de Pradts, a priest and teacher at the school whose interest in Souplier conceals deeper motives. As tensions mount, this triangle of affection, jealousy and spiritual conflict reveals the fragility of innocence, the ambiguities of authority, and the dangers of repression. Based on the semi-autobiographical play by Henry de Montherlant.

"Jusqu'au bout" is dedicated to the hunger strike, in the Ménilmontant church in Paris, by fifty-six Tunisian workers to obtain their work permits. After a sequence showing the recruitment of workers in Tunisia itself, other immigrant workers testify to the harshness of their living conditions in France. Underlining the continuity between the anti-racist struggle and the fight against exploitation, the film follows the hunger strikers to victory, celebrated collectively in an unbridled dance.

The filmed image is liberated from the shackles of representation of an external reality, becoming autonomous and spatial; the sound drifts and is regenerated by its asyncronous but nevertheless intimate relation to the image. Here, the sound is not reduced to the secondary role of accompanying the image. It constitutes the sensory experience just as much as does the image. Fast motion, slow motion, superimposition, reflection, colorization, filtering and synthetic composition: a combination of effects that produces a long audiovisual perspective within just one sequence.

This film is not a document about madness, any more than a film-truth investigation. It is a reflection of the experience of the Club Antonin Artaud's theater group (social and cultural rehabilitation center for the mentally ill, located in the Begijnhof district of Brussels and in which Boris Lehman was a leader for many years). Through the playful and instinctive creation of a piece built from collective improvisations, the actors' desire is expressed to "not stagnate, to be able to get away with it and to stand on its own".

"It's a very simple story, shot in a quiet street in Brussels. People waiting for the bus that is late, talking to each other, trusting each other, talking about the weather and giving each other practical tips. It is life as it is, in its troubling banality, that Van Antwerpen shows us. " (Luc Honorez, Le Soir, 1974).