DVD+BluRay+Book

Hand-assembled box set, manufactured in Spain

A 2-disc (all-region DVD & Blu-ray) box set, including sixteen films (125 min.)

96-page paperback book with specially commissioned texts in English

Available to buy online and through our network of authorized points of sale

Lawrence Jordan’s film Gymnopédies, like most of his non-narrative animation work (before and since), is, among other things, an opportunity to explore our relationship with the unknown.

What is exposed in African Diary is (…) the fascination of filmmaking itself, both for the Orientalist visitor and for the Others, who react in a range of ways to this strange and sometimes amusing intrusion into their daily lives.

Light is Calling, the most wondrous, mysterious, beautiful, melancholic of Morrison’s films.

The Colour of Love is a delirious adventure in the archive, delving into the nether realm of a manufactured dream scene that is destined now to never be forgotten.

Girl from Moush offers largely utopian visions of beauty and belonging, of the ability for art to connect individuals from a vivid culture strewn about the globe.

Taken as a film about deep time and the Anthropocene, this is the most beautiful disaster movie you have ever seen, and like all good dystopias, Zillertal is both apocalyptic and a promise of renewal.

Elke Groen travels to the city of Mostar, where she uncovers forgotten footage of the former Yugoslav revolutionary turned president-for-life Tito. (…)  How can we make a new present, a better present, out of the material of the past, even a past as ravaged as this?.

Populated with images and sounds from films that are normally not taken seriously as art, such as slapstick comedies, advertising films, and home movies (…) Cruises is best understood as a work of pop cinema.

Covert Action exposes the act of collecting with its intense inventory of gestures and postures. Thus, the figure of the kiss can no longer be seen as a sign of desire but as a form of visual energy, the materialization of the Freudian principle of “repetition compulsion”, the feeling of the Uncanny in the private space.

On some level, the entire film is poised between reverie and lucidity, a blink of an eye in which the real and the dreamily surreal mesh seamlessly. In Heller’s elegant, fluid composition, the world falls under a spell.

Three and a half minutes into Under Twilight, war has become an aesthetically gorgeous image, like a painting. We have forgotten the European lands below being blown to smithereens.

Fleming uses crude, visual sexual puns and associative montage to reveal the ideology hidden within the original images. As Bosch condemns the sins made against God, Fleming condemns the sins made against cinema.

Keen is somehow always able to transform the despairing side of the visual world into creative and subversive joy.

The duality of dream/trauma. This work of dreamlike cinema is assembled to suggest a process of free association guided by terror, and evoking a dangerous world of hidden violence, sexuality, and death.

National Tapestry reminds us that darkness and light are inextricably linked.  As with Dr. Frankenstein’s monster, we are reminded that a collection of unconnected, orphaned film strips can come together to form a living, breathing found footage film.

The Exquisite Corpus is an intense, overwhelming and boundary-riding film that shows us the nature of cinema while obliterating any sense of objective distance.