I-94

An ex-Navy man carrying out the last wish of a dying shipmate renews contact with old friends to break the code of silence around a mysterious, long-buried crime.

A meditation on the American rustic. Various objects within the composition are re-presented in unnatural colors and unusual spatial arrangements, emphasizing the illusion of movement while exploring film grain and graphic nature. The image of foreground and background becomes reversed, and through that process we lose sight of three-dimensional space representation.

A mom and her 10 year son motor around the country as she makes ends meet by turning tricks until her car breaks down. She then temporarily takes up with a hardware store owner until she gets her own place. Then the kid's father shows up to try to take the two over.

This recently unearthed and newly digitized work is a richly minimalist, single-camera-setup portrait of the sights and sounds at a late-night diner in Madison, WI.

A narrative film concerning an investigation of two women in time and space, to the point where the investigation becomes the narrative.

Exchanges investigates mechanisms by which meaning is produced in film, through the interaction of the process of construction of a text and the social context which determines and is represented by that text.

Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."

A single action seen from alternative left and right perspectives, accentuating reversals, repetitions and persistence of vision. Rather than uniting opposites, rhythm is set up by the struggling eye, varying as the image is moved closer to and further from the screen's center. The sound, with its fragmentations and its implications of incompleteness, focuses attention on the impossibility of a resolution in the film's dichotomy. "Rather than crediting the camera with objectivity according to the usual convention in film, the viewer is confronted with the relativity of simultaneous multiple perspectives. The soundtrack underlines the arbitrary relationship between a sign and its signifier, as does Magritte's painting, Ceci n'est pas une pipe." – The Art Examiner

A psychiatrist faces his past, present and future when he finds himself involved in the treatment of a young man recently released from prison for a murder committed when the boy was just 11 years old.

Monsters is a syndicated horror anthology series which originally ran from 1988 to 1991 and reran on the Sci-Fi Channel during the 1990s. As of 2011, Monsters airs on NBC Universal's horror/suspense-themed cable channel Chiller in sporadic weekday marathons. In a similar vein to Tales from the Darkside, Monsters shared the same producer, and in some ways succeeded the show. It differed in some respects nonetheless. While Tales sometimes dabbled in stories of science fiction and fantasy, this series was more strictly horror. As the name implies, each episode of Monsters featured a different monster which the story concerned, from the animatronic puppet of a fictional children's television program to mutated, weapon-wielding lab rats. Similar to Tales, however, the stories in Monsters were rarely very straightforward action plots and often contained some ironic twist in which a character's conceit or greed would do him in, often with gruesome results. Adding to this was a sense of comedy often lost on horror productions which might in some instances lighten the audience's mood but in many cases added to the overall eeriness of the production.

Except for some additional ambience, the entire sound track of this film has been taken (without permission) from: Ernesto Che Guevara, the Bolivian Journal. A film by Richard Dindo. The images were found in the desert landscape from Death Valley south to, and crossing, the Mexican border.

'After doing a re-make of John Cassevetes’ "Faces" [1968], I decided to re-make another American classic, Dennis Hopper’s "Easy Rider" [1969]. "Easy Rider" interests me in two ways: its portrayal of 60’s counterculture – unlike "Faces" which for me is more about the 50’s – and its search for place. I divided the original film into scenes (like I did with "Faces") and then replaced each scene with one shot filmed at the original location (unlike "Faces" where shots were gleaned from the original film itself). My "Easy Rider" tries to find today’s counter-culture (if one exists) by replacing the 60’s music with music that I listen to today.' ~ James Benning

A stunning study of real-time light changing from day to night which was filmed in a forest high up in California’s Sierra Nevada Mountains

A 2012 short-film, text by Theodore J. Kaczynski, made of scans of a document from an FBI Laboratory, about the danger of experiments with accelerated particles.

In NORTH ON EVERS James Benning takes the road movie seriously, making his circular trip across the U.S. a marvelously photographed, intensely felt, and disturbing portrait of contemporary America. In many ways, this recent film is a departure of Benning’s earlier films which are characterized, at times, by extremely long, carefully planned takes and a minimal narrative approach. In NORTH ON EVERS, the shots are kept short with a narrative that is direct and detailed, like a diary or a long series of postcards to a friend. What this work shares with the other films is a dry wit and a deep interest in the American social landscape.

James Benning's worrying and also reassuring vision of the Ruhr Valley, shot in six fascinating takes of a tunnel, a forest, a factory, a mosque, graffiti and a chimney.

Shots of 13 great lakes in the USA, with each shot containing half water and half sky or land.

Filmed on November 21 and 22, 2018 in Valencia, California. A gibbous and full moon rising.

After having shared a common experience in Cuba, twelve filmmakers say goodbye to return to their countries and make a pact: to make a collective film that answers the questions: what does it mean to plagiarize images and how to do it in the distance? The mechanism is unusual: a director makes a short and sends it to the next director, who in turn makes his own short for the purpose of plagiarizing the one he received. And so the chain of plagiarism continues until it reaches the last one. Each one interprets in their own way what it means to plagiarize the received film. The first link in the chain is James Benning, one of the world's most patient filmmakers. His extensive plans are replicated in the following fragments. Disobedience moves the exercise away from literality and an exploration of the texture of the images begins. In its repetitive mechanism, we can see that cinema is, in addition to record of reality, an art of images and sound. (Santiago González Cragnolino)

Twenty-four hours in the life of a factory worker.