Cinematic Era: 1968 Vintage

Children play around a cemetery.

Politics, race, nationalism.

Gapiszon arrives at the station and all sorts of things happen.

A film detailing advancements in computer/digital technology, featuring the 'Graphic 1' computer system at Bell Telephone Laboratories.

An orange rolls through town, evading capture by a young boy who wants it for a snack.

A complex picture with double shots of details in a room, graffiti on walls, fragments of texts, pictures and neon shots. (DFI)

In the summer of 1968, Beryl Sokoloff returned to see Schmidt after the tragic fire that burnt his house of mirrors down. When he told Clarence how sorry he was, Clarence answered: "Yes, but look what I'm doing now, I'm making a metal forest!". He was wrapping all the trees in foil. Beryl made this film as a tribute to Schmidt's indomitable spirit. Soundtrack: Alessandro Scarlatti's "Sonatas".

Description of a vacation day broken down into a grid of squares.

Experimental short by Ugo Nespolo.

A County Cork butter-and-egg man trades in his soul for a shot at the bigtime.

Short film by Bruno Munari and Marcello Piccardo.

Short film by Franco Vaccari.

A 1968 film by Giorgio Turi.

A 1968 film by Cinzio Ianiro.

Ampaw's film explores the challenges of Black people in Germany’s housing sector, creatively documenting landlords’ responses to the question of whether they would rent to a Black tenant, which range from explicitly racist takes to well-meaning, problematic clichés.

A nonfiction, autobiographical film that seeks to explore the journey from both the sentimental and socio-political perspectives of a college student.

This film of the Washington & Steyning Horse Show features a gymkhana, carriage racing and show-jumping - set against the backdrop of the Downs

A documentary about the life of children of residents at Synanon (a community primarily of former drug addicts). The children all live together, have a large part in running their school and sub-community and play a version of the Synanon "Game" (a type of group therapy). The film centers about the Game as played by the Children. –H. L.

Filmed in Washington DC.

A mood piece involving two lesbian lovers and a disturbed young man contemplating suicide.

A BAFTA award nominated scientific documentary on the properties and uses of carbon.

Five women's impressions of being single.

Welcome to Come, which depicts a somewhat mysterious transformation of the image in the course of a single zoom, was my only film to achieve a small measure of "popularity," with a short write up in Variety and prints purchased by several film teachers who still show it today.

16mm Film by Al Wong.

Ace and Cole invite their girlfriends Bonnie and Sally over to their apartment for dinner and sex. When the women phone to tell them they will be arriving late, the two men get bored and after small talk engage in homosexual acts with each other. When Bonnie and Sally finally arrive, Ace and Cole then engage in group sex with all of them.

Animated short film in which the hero, a mischievous little man born from cut-outs, lends himself to several metamorphoses that reflect the human and humorous side of a child in the face of life.

Instead of a frame, the works of Paul Neagu presented in this film are hidden in cabinets of various shapes and sizes; instead of the gallery visitor’s gaze, they demand the viewer’s intervention: to open, to look, to enter, which is why the artist takes them out and portrays them as traps for the pedestrians of Bucharest. The musical accompaniment consists of modernist brass compositions by Edgar Varese.

What would have been Fernández Violante's first feature film, its production was halted due to the events of 1968. Presumably converted into a short film. It is considered lost.

The Nishimura family makes traditional rice cakes.

Bob hires call girls for his PR clients, and invites another couple to help them relax. Signals get crossed and the call girls mistake who they're there to service.

An animated film of tiny images made of halftone and hard edges on rough and and smooth paper. They expand and compress, push each other, censor themselves, move, open, and leave an ominous feeling. Genuine home-made academy leader begins and ends this film. –J. D.

A truck with a projection screen and sound installation traveled across the US to spread the word about The Resistance and to show the people in the country the alternatives before them. Over and above their non-cooperation with the draft, members of The Resistance searched for a new form of society, a new attitude towards fellow people in the world and a new approach to what is worth doing with our lives.

Starting from indeterminate, large public spaces, the film focuses on the lines, corners, and openings of a barren apartment, eventually landing without lingering on used items, a cloth, crumpled paper. Many shaky doors swing shut, to be quickly replaced by others. Pressure and suction emerge spontaneously from the rooms in front of the observer's eyes. In the mundane: table legs, the dark tobacco end of a cigarette. The film brings life into being and ushers in light.

Takes place entirely during a meal (a family meal of course) which lasts from the year 1870 to the present. As history accelerates the structure of the family disintegrates.

Cooking and Fishing in Espirito Santo

Presents an overview of the social, legal and moral aspects of drug use and abuse in the United States. Includes interviews with drug users, legal authorities, sociologists and medical researchers, including scenes of hippies in San Francisco and of New York's Greenwich Village.

Discusses the identification, use and storage of virtually all dangerous products likely to be encountered in the home, including common poisonous plants.

Mexican feature film

This film introduces the term Cheechako -- an Alaskan Indian word meaning newcomer. The film looks at what kind of living and working conditions newcomers could.

Naomi Levine film from 1968

Defined as an ‘animated medley’ by its maker, the film is an animated photographic tribute to cinema through a gallery of stars from the silent era onward, alternating with more or less disorienting images of various origins. Through the widest range of techniques, recombined according to an associative logic that could evoke the cinema of the dada avant-garde, but also fashion magazines from the past, Amour du Cinéma is undoubtedly a singular film with pop overtones. —Tate Modern

A “Cinéastes de notre temps” series episode directed by french film critics Noël Burch and Jean-André Fieschi, originally aired in two parts.

A man gets more than he bargains for with a young hot bride.

This is a portrait of Peter Weibel, and at the same time a reflection on the medium film. As Peter Weibel looks silently into the camera (and thus to the audience) his own difficult text on the subject "Nimm eine Handvoll Zelluloid" ("Take a handful of celluloid;" published as Werkstatt Blatt 3, ed. Gottfried Schlemmer) is heard in his own voice. Due to the complexity of human language and the imperfection of the human ear, this linguistic information can only be imperfectly communicated to the audience. A film about the difference between cinema and literature. (E.S.jr.)

“Fishing/boys and father/pure/simple/straight forward” – Carolyn Brooks

"While film always seems to aim for humanism and anthropomorphism, I endeavoured in my film to represent only a language with three­ dimensional letters." Saga is an extension of the plurality of the means of experimentation used by Jean-François Bory to capture the dynamic inside the text, directly related to the spatialisation of letters theorised by Pierre Garnier. lts corresponding object­ book masterfully resumes the cinematographic dimension in the progression of the writing and uses a visual narration.

Based on an extensive interview with Fernando Solanas and a significant amount of hitherto unpublished archive material, the film describes the process of making the most influential militant film in Latin American cinema. It was made exclusively to accompany its DVD edition.

Documentary short about the East German Oktoberklub.

As early as 1968, Alessandra Bocchetti attempted to provide an initial overview of the various groups within the Italian New Left in this film.