Arts Council of Great Britain

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue.

“London artist John Smith uses light-hearted humour to explore theoretical concerns - Gargantuan, for instance, is both pleasantly silly and acutely conscious of how imagery depends entirely on its framing. A voice-over intones the words ‘huge’ and ‘strapping’ as a lizard almost fills the screen, then ‘medium’ as the camera zooms out, then ‘tiny’, and finally ‘minute’, a pun on the film’s running time.” Fred Camper, Chicago Reader 2001

Remembrance of Things Fast represents the culmination of Maybury's work in video, which has developed alongside the technology itself. Starring Tilda Swinton and Rupert Everett in lead roles, the tape confronts the conventions of world television and satellite broadcast, drawing on the fragmentary nature of the medium and the cliches of the three minute attention span. At the same time, it replaces bland mainstream images with darker, more satirical observations and studies. The environment is surreal, a virtual reality television land of landscapes and imaginary cities, enhanced by Marvin Black's dark, dense soundtrack. It is a cyberspace where the impossible is all too possible. Within this parallel world, a series of archetypes act, observe and comment, informed by a strong sexual sensibility. '..a mesmerising, sometimes hysterically funny, cinematic bricolage with a strong sexual and mostly gay sensibility'. - Cordelia Swann

From the idea that glass, even when cooled, is a liquid that changes in appearance over time, an offscreen narrator launches a recollection of the bygone days of manual glassmaking and an observation of the impact of the mass-produced glass on the changing appearance of England over time.

Experimental essay in film history, associating very early archive material (circa 1909) and studio shot footage in an attempt to provide insights into the way in which "film language" developed during the silent era, with emphasis on the process by which spectators came to be increasingly "contained" with the space time of narrative.

It is night and, in the foyer of a small hotel, a receptionist performs her tasks, unhurried and impassive, her face ghost-white, an emotional mask. Like the camera, she gazes steadily, both silent spectator and vicarious participant in the fantasies played out by the hotel's transient guests. As the night progresses, she answers a phone, hands over a key; guests pass back and forth gradually taking on a dream-like presence. She continues to work and, when morning comes, she leaves, her nightshift over. 'NIGHTSHIFT shows what film can do if the conventional pace of narrative is slowed down and montage diminished. It is not a new idea, of course, but the way it is done here is both absorbing to look at and satisfying from the moral point of view.' (Jill Forbes, Monthly Film Bulletin)

Early 90s London gets a vibrant dose of African culture in this mini odyssey fusing dance, music and fashion.

A brief look at the life of the Greek poet Constantine Cavafy.

Art historian Basil Taylor presents the film and interviews several of its subjects, in between leisurely sequences surveying paintings and sculptures to the strains of the BBC Radio Orchestra.

The Arts Council commissioned this film to coincide with their major retrospective of Giacometti's work at the Tate Gallery (now Tate Britain) in the summer of 1965. A similar exhibition was held concurrently at the Museum of Modern Art in New York, sealing the artist's reputation as a modern master.

Vertical Features Remake is a film by Peter Greenaway. It portrays the work of a fictional Institute of Reclamation and Restoration as they attempt to assemble raw footage taken by ornithologist Tulse Luper into a short film, in accordance with his notes and structuralist film theory. The footage consists mostly of vertical landscape features, such as trees and posts, shot in the English landscape.

Oscar Wilde’s famous and eloquent defence of love – made while he was being cross-examined at the trial that led to his incarceration and death – is strikingly illustrated, word by word, with Mapplethorpe-like imagery.

Documentary on advertising. Investigates the way work has disappeared from advertising images, and traces the phenomenon through archive advertising films from 1897 to 1960. Places advertising in the context of historical events and everyday life, archive material being juxtaposed with contemporary images.

Plutonium Blonde is a beautifully textured collage of sound and images and a fractured narrative about woman’s self-definition and control. Taking the figure of Thelma, a woman working with the plutonium monitors at the core of a reactor, Lahire questions both the process at the core of the plutonium terminal and that one that constructs female identity. Plutonium Blonde is part of a trilogy of films on radiation (the other two are Uranium Hex and Serpent River) that Lahire made in the 1980s.

A memory-using location film of a stay with a uranium mining community. Using a kaleidoscopic array of experimental techniques, this film explores uranium mining in Canada and its destructive effects on both the environment and the women working in the mines. A plethora of images ranging from the women at work to spine-chilling representations of cancerous bodies are accompanied by unnerving industrial sounds and straightforward information from some of the women.

Stephen Dwoskin brings together members of the Ballet Negres dance company, founded in London in 1946.

Silent short film by Guy Sherwin as part of his Short Film series in which he captures everyday life, diary like subjects.

A documentary about the life and works of Margaret Tait.

Introduces the world of painter René Magritte through an assemblage of the painter's images. Includes statements by Magritte about his intentions and anecdotes from his friends Mesens and Scutenaire.

Gilbert & George are renowned for presenting themselves as ‘living sculptures,’ fusing their art and identity with the external world. Their exploration of the bleak urban surrounds of 1980’s London, powerfully evoke the desires and tensions of its disillusioned youth alongside their own eccentricities. Poetic narration combines with vivid imagery that moves between the startlingly beautiful, the humorous, and the absurd. Church spires and city streets, youth and drunks, dancing and tea-drinking all take on an affecting symbolism when viewed from the unique perspective of Gilbert & George.