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This short film tells a story in the form of a poem that calls for equality for children who lack opportunities. It was created by Surapong Pinijkhar, who submitted it to the Bangkok Bank Documentary Film Festival in 1977. Despite exceeding the standards of traditional Thai documentary films, the judges were too afraid to give it the top prize, but they also couldn't deny its brilliance, so they awarded it a special prize. This documentary film is a creative masterpiece of the nation. This film has been registered as part of the National Film Heritage, first edition, in the year 2011 (B.E. 2554).

Three outsiders meet by chance and try to chase their dreams despite all odds. However, things take a dramatic turn when they run into trouble with the Yakuza.

Two best friends fight over the rights to a viral song.

The ancient knowledge of indigenous peoples challenges high-tech science in a near-cosmic tale from a South African desert where the world’s largest radio telescope is being built with antennae aimed at the far corners of the universe.

When "Someone" Knock on Your Door in The Middle of The Night, Do Not Open!

Two brilliant nobodies dream of changing the world. One becomes a legend. The other pulls the trigger.

!Kung Bushmen Hunting Equipment

Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.

HIGH SCHOOL STUDENTS ATTEMPT TO SHOOT A HIGH-OCTANE, EXPLOSIVE WAR EPIC… IN 24 HOURS. WHAT COULD GO WRONG?

Unfolding 2026: A 17-Year-Old Girl's year of surprises.

“ * “ piece is created from the perspective of the one directly affected by the events, with experience from within and oriented mostly on the viewer who exists outside of the epicentre of events.

Buttenhausen, a village: 1933 - 1942 Television journalist Lea Rosh interviews residents and Jewish visitors in Buttenhausen about their memories of the coexistence of Christians and Jews in this village in the Swabian Alb. Her reports on everyday life under National Socialism shed light on the situation of the people at that time.

A group of friends are struck hard when one of them stops talking to the rest out of nowhere, leaving them with nothing but: "..."

This work is in five reels (numbered, but called "reels" so that they don't take on the connotations of "Parts" - thus each simply a part of the "trail" of colored scratches, white scratches ((on black & white leader) which suggest, to me, a passage). The third "reel" combines these scratches with some motion picture film, mostly of the ocean. The fifth reel is the only one which has a sound track; but of course that makes the whole work a "SOUND film" because the audio track must be turned-on from the beginning.

"A second 20-minute reel is more staccato mad chicken-scratch calligraphy fluttering out of a yellow void, sketchy lightning bolts or fireworks interrupted by a sudden field of turquoise." - J. Hoberman

"The third and shortest section reintroduces camera-derived imagery and, minimal as it may be (sunlight shimmering on water, seagull wheeling in the sky), it's still a shock to see "something." Brakhage continues to play with surfaces, layering the image with scratch bursts and soft-focus superimpositions; sentiment arrives with representation." - J. Hoberman, The Village Voice

Reel #4 of (...) is a recapitulation of the primary variations of scratched (on black leader) shapes and additive colors (i.e. those which are composed of toned light in the step printing process) as well as the solarizations (i.e. the combination of negative and positive images of the scratches) and the negative imagery itself (with its almost phosphorescent negative coloration): these visual themes (forms, textures and tones) eventually resolve themselves into an amalgam, as it were - something that seems "new", a "breakthrough", so to speak, but is actually combos of earlier variants.

Reel #5 of (...) is composed of scratch-imagery edited to music by James Tenney. The music starts accompanied only by black leader: then there is a sudden flare of pure white which begins to flicker with negative-colored ephemeral shapes, until finally the music and a fulsome mass of scratched images are accompanying each other. At times a distinctly different quality of colored image appears and continues for awhile (non-orange negative photography of painted film as well as picture images).