Jon Jost

This film is a record of the first Yamagata International Documentary Film Festival. It reflects the various ways the festival was given shape by nascent global changes embodied by Perestroika, the Tiananmen Square massacre, and many other contemporaneous events.

A Paul Joyce documentary on the American independent film scene.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

Empire Prairie, where Lonnie Enright grew up. He's headed home now, to see his ailing father and little brother. Bad things are coming.

As night falls, the receptionist of a small hotel dutifully performs her routine tasks while strange lodgers descend upon the dark corners of the inn.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

Teenage London is trying to find meaning in the world, or a leather jacket of her own. Unaccepted by neither the Mods or the Asian biker gang, she tries to find her own path. Meanwhile, the two gangs maintain a mutual vendetta sure to erupt in a smorgasbord of violence.

Reel 18 of Gérard Courant's on-going Cinematon series.

A film that Jon Jost dedicated to his daughter Clara, an artistically designed home movie and at the same time a look back at his life, mostly commented off-screen by Jon Jost. He used the technology of the digital camera which contrasts nicely with his newly discovered love for watercolor painting.

Perhaps at first glance, the filmography of Silvio Narizzano appears unremarkable. Thanks to his sleeper hit Georgy Girl (1966), he's known largely as a "one-hit wonder" director. Upon closer inspection, however, likely no other filmmaker used cinema as effectively to exorcise personal demons in ways both ugly and beautiful. And few directors' sensibilities were more gay, both overtly and covertly. Film historian Daniel Kremer is your tour guide through an obscure, perplexing body of work heretofore ignored and often unfairly shunned. Cruel, Usual, Necessary: The Passion of Silvio Narizzano is an essay documentary of discovery.

A young draft resister finds peace and love in the country, but his solution to the problems of the city may very well be a naive dream.

Caveh gets stoned. Jon Jost doesn't.

"PRIMARIES is a simple film which merely establishes a definition of 'politics'. Its narrative moves in paragraph blocks, with each sentence accompanied by different pictures of a young woman's hands, feet, torso, face… A TURNING POINT IN LUNATIC CHINA provides a critique of the methods of communication employed by my fellow Leftists. The ritualistic posturing and sloganeering I had used myself and seen in action in Chicago and San Francisco State, the seizing of exotic foreign figures (Mao, Che) and ideological rhetoric (SDS debates on Stalinism)–all struck me as mistaken and useless... [TURNING POINT] initiates a conscious probing of the means and techniques of mass communication, particularly film. 1, 2, 3, FOUR... delivers a critique from within of the... ideologies... of the 'counter-culture'... [It] provides no answers, but rather it allows the internal dynamics of the 'left' generate its own questions."

Arbor Fugue is made from “outs” material from the installation piece, Trinity. I felt that the material made for an interesting re-working of the nature of the musical form of the fugue, in which motifs are returned to again and again in new forms. This was an experiment in doing the same visually.

A 2000 short film directed by Jon Jost. The film screened at International Film Festival Rotterdam in 2002.

Two HIV-positive young men — a semi-employed film critic and a hot hustler — tear off on a cross-country crime spree.

The aesthetic moves progressively from loose “underground” means using expressionistic camera movement, multiple exposures, droning sequences and shock cut towards a static, didactic form of “documentary” marked with long takes, minimal camera movement, a surface concentration on showing how things are. Being silent they operate on sheerly visual means. From the outset they grapple with socio-political issues with the stifling atmosphere of Catholic family life in Italy

I walked around Trondheim, shooting this and that, and at one point I saw these girls walking across a little footbridge. After I got the shot of them, I spent a little time trying to imagine what they might have seen on their little walk. This is the result. I don't know if it was the light, or the architecture, but I was reminded of Edvard Munch's paintings and graphics, and decided this was a modest electronic homage to him. (Jon Jost)

A short landscape film made by Jon Jost in 2004 in DV.

A portrait of alienation is sketched out, focusing on a young art student who passively, but consciously, rejects responsibility for the political storms swirling about her. The epitome of bourgeois mentality, she insists she is, or at least will be, an artist. She says, all she is responsible for is “art”—though she admits she cannot tell you what it is. Beginning with TV images from Viet Nam being turned off, the film ends with the 13th fragment, TV images of Viet Nam being turned on again. We are bracketed by history, like it or not. (Jon Jost)

A portrait of alienation is sketched out, focusing on a young art student who passively, but consciously, rejects responsibility for the political storms swirling about her. The epitome of bourgeois mentality, she insists she is, or at least will be, an artist. She says, all she is responsible for is “art”—though she admits she cannot tell you what it is. Beginning with TV images from Viet Nam being turned off, the film ends with the 13th fragment, TV images of Viet Nam being turned on again. We are bracketed by history, like it or not. (Jon Jost)

A detective fiction mixed with an essay-documentary about Los Angeles, Hollywood and the film industry, Angel City is a satiric comedy with serious intentions.

A detective fiction mixed with an essay-documentary about Los Angeles, Hollywood and the film industry, Angel City is a satiric comedy with serious intentions.

A detective fiction mixed with an essay-documentary about Los Angeles, Hollywood and the film industry, Angel City is a satiric comedy with serious intentions.

A detective fiction mixed with an essay-documentary about Los Angeles, Hollywood and the film industry, Angel City is a satiric comedy with serious intentions.

Impressions from the American Independence Day celebrations in Butte, Montana: evening mood, American flag on the veranda, barbecue, firecrackers, fireworks. A quote from Donald Trump: “Marxists, anarchists, troublemakers and looters destroy our statues, erase our history, indoctrinate our children and trample our freedom. Your goal is no better America, your goal is the end of America.” A short, to-the-point comment.

An experimental sketch that came about while Jon Jost was teaching at Italy's National Film School. He strolled through the San Lorenzo district, observed the celebrations, the lively street life and didn't miss the nearby cemetery.

An experimental sketch that came about while Jon Jost was teaching at Italy's National Film School. He strolled through the San Lorenzo district, observed the celebrations, the lively street life and didn't miss the nearby cemetery.

An experimental sketch that came about while Jon Jost was teaching at Italy's National Film School. He strolled through the San Lorenzo district, observed the celebrations, the lively street life and didn't miss the nearby cemetery.

An experimental sketch that came about while Jon Jost was teaching at Italy's National Film School. He strolled through the San Lorenzo district, observed the celebrations, the lively street life and didn't miss the nearby cemetery.

An experimental sketch that came about while Jon Jost was teaching at Italy's National Film School. He strolled through the San Lorenzo district, observed the celebrations, the lively street life and didn't miss the nearby cemetery.

The war in Mali is seen through a kaleidoscope that gives the whole thing an unexpected beauty and fascination. An anti-war film. A sung requiem provides the soundtrack.

The war in Mali is seen through a kaleidoscope that gives the whole thing an unexpected beauty and fascination. An anti-war film. A sung requiem provides the soundtrack.

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.

Three performances by portuguese dancer and choreographer Vera Mantero.

Three performances by portuguese dancer and choreographer Vera Mantero.

Three performances by portuguese dancer and choreographer Vera Mantero.

A film that Jon Jost dedicated to his daughter Clara, an artistically designed home movie and at the same time a look back at his life, mostly commented off-screen by Jon Jost. He used the technology of the digital camera which contrasts nicely with his newly discovered love for watercolor painting.

A film that Jon Jost dedicated to his daughter Clara, an artistically designed home movie and at the same time a look back at his life, mostly commented off-screen by Jon Jost. He used the technology of the digital camera which contrasts nicely with his newly discovered love for watercolor painting.

Taking inspiration from the collaborative 1967 militant anthology film Far from Vietnam, five of the boldest and most prominent American militant filmmakers unite to create this searing (and seething) omnibus work, employing a variety of approaches to reveal the hidden costs of the United States' (and Canada's) most expensive and longest-running war. (TIFF)

“A silent perusal of the Grand Canyon, morning to night, from a single, fixed camera position, by means of constant dissolves spaced a few seconds apart. Man — entirely absent — is no longer the center of the universe; the canyon exists outside of him. Despite the invisible photographer and his technologically-caused dissolves, this is a creditable approximation of the true foreign-ness of nature.” — Amos Vogel, Film as a Subversive Art (1974)

A homage to nature and a plea for a careful approach to it. In one of his early films, Jon Jost shows impressions of a stream in the forest and a couple streaming through the forest: direct looks into the camera, cross-fades, multiple exposures, playing with sunlight, shadows and shapes. At the end, the appeal of a Wintu indigenous man who condemns the reckless treatment of the whites with nature is faded in.

A homage to nature and a plea for a careful approach to it. In one of his early films, Jon Jost shows impressions of a stream in the forest and a couple streaming through the forest: direct looks into the camera, cross-fades, multiple exposures, playing with sunlight, shadows and shapes. At the end, the appeal of a Wintu indigenous man who condemns the reckless treatment of the whites with nature is faded in.

A homage to nature and a plea for a careful approach to it. In one of his early films, Jon Jost shows impressions of a stream in the forest and a couple streaming through the forest: direct looks into the camera, cross-fades, multiple exposures, playing with sunlight, shadows and shapes. At the end, the appeal of a Wintu indigenous man who condemns the reckless treatment of the whites with nature is faded in.

A homage to nature and a plea for a careful approach to it. In one of his early films, Jon Jost shows impressions of a stream in the forest and a couple streaming through the forest: direct looks into the camera, cross-fades, multiple exposures, playing with sunlight, shadows and shapes. At the end, the appeal of a Wintu indigenous man who condemns the reckless treatment of the whites with nature is faded in.

A wedding in Rome. Jost watches a bride and groom on the street, their swinging white dress, his festive suit, walking together on cobblestones. Filmed in slow motion, a beautiful flow of black and white movements emerges.

In the fall of 2003, Jon Jost walks with his camera through the garden of Waseda University in Tokyo. He films the bamboo forest, tree tops, grasses, bushes and leaves. The exposure changes and the most beautiful painting is created.

In the fall of 2003, Jon Jost walks with his camera through the garden of Waseda University in Tokyo. He films the bamboo forest, tree tops, grasses, bushes and leaves. The exposure changes and the most beautiful painting is created.

In the fall of 2003, Jon Jost walks with his camera through the garden of Waseda University in Tokyo. He films the bamboo forest, tree tops, grasses, bushes and leaves. The exposure changes and the most beautiful painting is created.

In the fall of 2003, Jon Jost walks with his camera through the garden of Waseda University in Tokyo. He films the bamboo forest, tree tops, grasses, bushes and leaves. The exposure changes and the most beautiful painting is created.

A wedding in Rome. Jost watches a bride and groom on the street, their swinging white dress, his festive suit, walking together on cobblestones. Filmed in slow motion, a beautiful flow of black and white movements emerges.

A wedding in Rome. Jost watches a bride and groom on the street, their swinging white dress, his festive suit, walking together on cobblestones. Filmed in slow motion, a beautiful flow of black and white movements emerges.

Mountain landscapes enveloped in foggy fields that slowly merge into one another. Sometimes the fog clears and details become visible. Sometimes the landscape blurs into an abstract drawing. From photographic images by Danila Rumold.

A wedding in Rome. Jost watches a bride and groom on the street, their swinging white dress, his festive suit, walking together on cobblestones. Filmed in slow motion, a beautiful flow of black and white movements emerges.

A wedding in Rome. Jost watches a bride and groom on the street, their swinging white dress, his festive suit, walking together on cobblestones. Filmed in slow motion, a beautiful flow of black and white movements emerges.

In the fall of 2003, Jon Jost walks with his camera through the garden of Waseda University in Tokyo. He films the bamboo forest, tree tops, grasses, bushes and leaves. The exposure changes and the most beautiful painting is created.

In October 2008, Jon Jost is standing with his camera in the waiting area of ​​a train station in the USA, filming the other travelers: a mother with a child, the cleaning service, businesspeople on the phone, the conductor who falls in love and says goodbye to his wife. Finally he gets on the train himself and points the camera out of the window at the passing towns, the landscape and the clouds in the evening sky. A benevolent look at America - in the middle of the global economic crisis.

In October 2008, Jon Jost is standing with his camera in the waiting area of ​​a train station in the USA, filming the other travelers: a mother with a child, the cleaning service, businesspeople on the phone, the conductor who falls in love and says goodbye to his wife. Finally he gets on the train himself and points the camera out of the window at the passing towns, the landscape and the clouds in the evening sky. A benevolent look at America - in the middle of the global economic crisis.

In October 2008, Jon Jost is standing with his camera in the waiting area of ​​a train station in the USA, filming the other travelers: a mother with a child, the cleaning service, businesspeople on the phone, the conductor who falls in love and says goodbye to his wife. Finally he gets on the train himself and points the camera out of the window at the passing towns, the landscape and the clouds in the evening sky. A benevolent look at America - in the middle of the global economic crisis.

In October 2008, Jon Jost is standing with his camera in the waiting area of ​​a train station in the USA, filming the other travelers: a mother with a child, the cleaning service, businesspeople on the phone, the conductor who falls in love and says goodbye to his wife. Finally he gets on the train himself and points the camera out of the window at the passing towns, the landscape and the clouds in the evening sky. A benevolent look at America - in the middle of the global economic crisis.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

A detective fiction mixed with an essay-documentary about Los Angeles, Hollywood and the film industry, Angel City is a satiric comedy with serious intentions.

Times are hard for Northwestern lumber-mill operators like Ray and his wife Jean. Ray and Jean's lives are thrown into chaos when their daughter writes home from college, claiming to have a horrifying revelation.

Times are hard for Northwestern lumber-mill operators like Ray and his wife Jean. Ray and Jean's lives are thrown into chaos when their daughter writes home from college, claiming to have a horrifying revelation.

From Jon Jost's Site: "Canyon is in effect a re-make of a film I shot in 1970 in 16mm, which ran 5 minutes. It was a look down into the Canyon for a full day, made from a sequence of shots, taken from the same viewpoint, Yavapi, dissolved one to the next. This version is in HD and takes advantage of the improved definition, and the release for certain constraints which 16mm imposed – technical and financial. Here the limits of time, cost, and the improved aesthetic quality allowed for another approach, though again the work is from a single vantage point – it is subtler and more in keeping with the nature of the canyon and its pacing."

From Jon Jost's Site: "Canyon is in effect a re-make of a film I shot in 1970 in 16mm, which ran 5 minutes. It was a look down into the Canyon for a full day, made from a sequence of shots, taken from the same viewpoint, Yavapi, dissolved one to the next. This version is in HD and takes advantage of the improved definition, and the release for certain constraints which 16mm imposed – technical and financial. Here the limits of time, cost, and the improved aesthetic quality allowed for another approach, though again the work is from a single vantage point – it is subtler and more in keeping with the nature of the canyon and its pacing."

From Jon Jost's Site: "Canyon is in effect a re-make of a film I shot in 1970 in 16mm, which ran 5 minutes. It was a look down into the Canyon for a full day, made from a sequence of shots, taken from the same viewpoint, Yavapi, dissolved one to the next. This version is in HD and takes advantage of the improved definition, and the release for certain constraints which 16mm imposed – technical and financial. Here the limits of time, cost, and the improved aesthetic quality allowed for another approach, though again the work is from a single vantage point – it is subtler and more in keeping with the nature of the canyon and its pacing."

From Jon Jost's Site: "Canyon is in effect a re-make of a film I shot in 1970 in 16mm, which ran 5 minutes. It was a look down into the Canyon for a full day, made from a sequence of shots, taken from the same viewpoint, Yavapi, dissolved one to the next. This version is in HD and takes advantage of the improved definition, and the release for certain constraints which 16mm imposed – technical and financial. Here the limits of time, cost, and the improved aesthetic quality allowed for another approach, though again the work is from a single vantage point – it is subtler and more in keeping with the nature of the canyon and its pacing."

Speaking Directly is an essay-film making for a kind of State of the Nation address, from the perspective of someone other than the President of the United States, circa 1973-5. This film addresses both the political and cultural situation of the US at the height of the Viet Nam war, Watergate and its aftermath, and likewise addresses the personal life, in this context, of the filmmaker, at that time thirty years of age, recently out of two plus years in federal prison for refusal to accept military service.

Speaking Directly is an essay-film making for a kind of State of the Nation address, from the perspective of someone other than the President of the United States, circa 1973-5. This film addresses both the political and cultural situation of the US at the height of the Viet Nam war, Watergate and its aftermath, and likewise addresses the personal life, in this context, of the filmmaker, at that time thirty years of age, recently out of two plus years in federal prison for refusal to accept military service.

Jon Jost: MURI ROMANI II is a "slow film" showing the walls of the center of Rome in a manner which is both beautiful and mysterious, and hopefully prompts a meditative state which unconsciously raises thoughts of the deep history of Rome and of humanity.

Jon Jost: MURI ROMANI II is a "slow film" showing the walls of the center of Rome in a manner which is both beautiful and mysterious, and hopefully prompts a meditative state which unconsciously raises thoughts of the deep history of Rome and of humanity.

Jon Jost: MURI ROMANI II is a "slow film" showing the walls of the center of Rome in a manner which is both beautiful and mysterious, and hopefully prompts a meditative state which unconsciously raises thoughts of the deep history of Rome and of humanity.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

After being thrown out of his house, a cowboy hits the road in a senseless wave of robbery, murder and rape. On a bucolic farm a seemingly retarded woman is kept on a rope by a mute farmer. Soon, the cowboy shows up. "Parable" is a radical reflection on the George W. Bush years, where the populace has become zombie-like.

A telling story of an unemployed Vietnam vet in Butte, Montana, whose wife leaves him after seven years when she feels there is no longer communication between them and - more painfully and pointedly - because she is unable to have a child owing to his sterility from exposure to Agent Orange. Told in a gentle style, richly emotional, Bell Diamond was made with non-professionals drawn from the community of Butte.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

short film by Jon Jost

film by Jon Jost

CHHATTISGARH SKETCHES is a videographic notebook of a journey in India in the spring of 2003. It was made during brief periods free while I was conducting a practical digital video workshop in the small city of Raipur, in Chhattisgarh, in an out-reach program intended to provide lower-caste and tribals access to, and experience with, digital video. Most of the material in this work was made during weekend trips to the villages of the students, who invited me to stay with them. As such the film is an impressionistic glimpse of a non-touristic area of India, one of its poorer and less developed regions. It was my intention to capture more the “spirit” or “sense” of the place - the languid pacing of time, the light, the richness of color - than in any sense to make a clinical “documentary” about it. Included in the film, at the end, is a sequence of shots made by my students during the workshop conducted in Raipur.

film by Jon Jost

film by Jon Jost

This film is a quiet and poetic documentary which allows a handful of people, survivors of the March 11, 2011 earthquake and tsunami in Japan, to tell of their experiences on that day. It is a film of utter simplicity.

An American independent director comes to Italy to shoot a film. But inconveniences and obstacles stand in the way at every step. These are the years in which “Tangentopoli” rages and the golden rule of officials and collaborators is “one (bribe) to you, one to me, one to Raffaele”.

Jon Jost: "RANT is a discursive portrait of Steven Lack, actor (Cronenberg's Scanners, Alan Moyle's Rubber Gun, Jost's All the Vermeers in New York) and full-time painter/artist in the New York scene since the late 1970's. The film provides a glimpse of this world through Lack's friends, dealers, and family, while showcasing his paintings and sculptures, and giving an insight into the creative processes of this driven artist."

An essay film/documentary perusing matters of art, society, history, and a grab-bag of the author's interests, which also serves as a primer to the aesthetics of digital video.

short Jon Jost film shot on digital video in 1999

short Jon Jost film shot on digital video in 2001

short Jon Jost film shot on digital video in 2001

short Jon Jost film shot on digital video in 2008

1964, Autumn in Chicago. This was my 4th film, shot while waiting to go to prison for refusing to serve in the US military. Silent. B&W. I think it captures the sense of depression, of loneliness within the city. Looking back it seems almost archaic, Chicago as some kind of East Bloc country in Soviet times.

The famous French film director Jean-Luc Godard is interviewed by British film theorist Peter Wollen and the editor of Framework Don Ranveaud. He talks of the developments in his work, the change in style epitomized by his most recent film, Sauve Qui Peut, his work with Francis Ford Coppola and the relations between his previous films and the new one. He also discusses his radical method of scriptwriting and the critical responses to his latest film.

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.

Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.

Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.

Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.

A lyrical oblique film.

A lyrical oblique film.

Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.

Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.

Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

Coming out of an accident with amnesia, Sophie Bauer tries to reshape herself in the eyes of those who knew her best.

"Imagens de uma cidade perdida" is a portrait of an old area of Lisbon, primarily the Alfama, but also other central areas - Castelo São Jorge, Graça, Bairro Alto, and elsewhere. It was shot in 1997-98, over the span of more than a year. Like those places, its pace is languid and it wears the sense of "saudade" which defines Lisboa and Portugal.

Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.

An essay-film on language and theater, on human communication - intellectual in content, but purely poetic in terms of form: image, sound, language, cinema. Stagefright, with the exception of one shot, was all filmed in a small puppet theater space, actors against black.

An essay-film on language and theater, on human communication - intellectual in content, but purely poetic in terms of form: image, sound, language, cinema. Stagefright, with the exception of one shot, was all filmed in a small puppet theater space, actors against black.

An essay-film on language and theater, on human communication - intellectual in content, but purely poetic in terms of form: image, sound, language, cinema. Stagefright, with the exception of one shot, was all filmed in a small puppet theater space, actors against black.

Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.

Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.

Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.

Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

A portrait of alienation is sketched out, focusing on a young art student who passively, but consciously, rejects responsibility for the political storms swirling about her. The epitome of bourgeois mentality, she insists she is, or at least will be, an artist. She says, all she is responsible for is “art”—though she admits she cannot tell you what it is. Beginning with TV images from Viet Nam being turned off, the film ends with the 13th fragment, TV images of Viet Nam being turned on again. We are bracketed by history, like it or not. (Jon Jost)

Bowman Lake is a single image film of Bowman Lake, sunrise to sunset.

Bowman Lake is a single image film of Bowman Lake, sunrise to sunset.

Bowman Lake is a single image film of Bowman Lake, sunrise to sunset.

A telling story of an unemployed Vietnam vet in Butte, Montana, whose wife leaves him after seven years when she feels there is no longer communication between them and - more painfully and pointedly - because she is unable to have a child owing to his sterility from exposure to Agent Orange. Told in a gentle style, richly emotional, Bell Diamond was made with non-professionals drawn from the community of Butte.

A telling story of an unemployed Vietnam vet in Butte, Montana, whose wife leaves him after seven years when she feels there is no longer communication between them and - more painfully and pointedly - because she is unable to have a child owing to his sterility from exposure to Agent Orange. Told in a gentle style, richly emotional, Bell Diamond was made with non-professionals drawn from the community of Butte.

A telling story of an unemployed Vietnam vet in Butte, Montana, whose wife leaves him after seven years when she feels there is no longer communication between them and - more painfully and pointedly - because she is unable to have a child owing to his sterility from exposure to Agent Orange. Told in a gentle style, richly emotional, Bell Diamond was made with non-professionals drawn from the community of Butte.

Ex-con is released from jail, goes through release procedure, buys a gun, tries to pick up girl in bar, tries to sleep, meets up with ex-prison buddy, goes to take revenge on drug deal gone sour. A minimalist drama of dire simplicity, using avant-garde methods.

Ex-con is released from jail, goes through release procedure, buys a gun, tries to pick up girl in bar, tries to sleep, meets up with ex-prison buddy, goes to take revenge on drug deal gone sour. A minimalist drama of dire simplicity, using avant-garde methods.

Ex-con is released from jail, goes through release procedure, buys a gun, tries to pick up girl in bar, tries to sleep, meets up with ex-prison buddy, goes to take revenge on drug deal gone sour. A minimalist drama of dire simplicity, using avant-garde methods.

An improvised love story between a boy and girl in Paris.

Travel video by Jon Jost

A tone poem about problems in a romantic relationship of a middle aged couple.

Working for the first time with sound, I made TRAPS, a film scripted in jail on hearing of an acquaintance’s suicide, and LEAH. Both are “portraits” of alienated young women. TRAPS is harsh in both form and content, with long takes speaking to the camera juxtaposed against long silent sequences as, in an argument by accretion, the grounds for alienation are piled up. Ostensibly a “documentary self-portrait” made by the woman of the film, TRAPS’ seemingly uncohesive segments crystallize only at the last moment when the neutral narrator (and alleged “editor” ) informs the viewer that the woman committed suicide.

A telling story of an unemployed Vietnam vet in Butte, Montana, whose wife leaves him after seven years when she feels there is no longer communication between them and - more painfully and pointedly - because she is unable to have a child owing to his sterility from exposure to Agent Orange. Told in a gentle style, richly emotional, Bell Diamond was made with non-professionals drawn from the community of Butte.

Plain Talk is a complex essay-film, a follow-up a decade and some years later to Speaking Directly, and so another State of the Nation discourse, made for Britain's Channel Four in the year 1986-87. The work involved extensive travel around the United States, and poses an examination of just what America is/was, or what do we mean when we speak of it. Done in a series of radically different sections which collide with each other in a manner intended to provoke thinking, Plain Talk, which was made by an American and intended for American viewers, was indeed broadcast in Britain, but somewhat predictably, not in the USA.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

A parable of the missteps of life enacted in the hothouse world of late 1980’s New York, in which the art market and the stock market each boomed, and in process spawned a smorgasbord of “yuppie” delusions which still persist. Anna, a French actress studying in New York, crosses paths with a successful stock-broker, Mark, standing before a Vermeer portrait at the Metropolitan, thence ensues a peculiar romance of missed meanings and connections, with tangential asides to the steaming arts world and stock market, loft-mate conflicts, and, perhaps, love. Wrapped up in their blindered worlds, Anna and Mark deflect away from their chances, leaving at the conclusion the wistful face of Vermeer’s portrait enigmatically asking questions. All the Vermeers in New York is a comedy of manners which, as gently as a Vermeer, looks beneath the skin of this time and place, and of these characters.

Ricky, a dim-witted ex-con, meets Beth, a dim-witted waitress, in an Idaho diner. They take off in his car to Washington and begin an affair. Beth, a lonely romance-novel addict, is hopelessly enamored; Ricky is just in it for the (constant) sex. Beth's longing to visit California and Ricky's longing for quick cash leads them into a desperate situation. Director Jost uses a variety of avant-garde visual and narrative techniques, such as montage, collages, split screens and lengthy, tongue-in-cheek monologues to tell the tragicomic story of two complete losers in love.

A scathing portrait of the Hollywood/LA arts milieu of the late 70’s, Chameleon follows the amorphous day of its lead character, an Armani-jacketed peddler of high-class dope, fraudulent art, and preening postures suited-to-fit the changing victims, though as with all such fakery, the real victim in the long run is the person who lives such a life.

A tone poem about problems in a romantic relationship of a middle aged couple.

One day, father makes a shocking decision in a family gathering. The family disagrees with it and against him in the very beginning. However, they make up their mind to support him at the end. A portrait of family disorganization casting the master of experimental film, James Benning.

Bowman Lake is a single image film of Bowman Lake, sunrise to sunset.

An essay-film on language and theater, on human communication - intellectual in content, but purely poetic in terms of form: image, sound, language, cinema. Stagefright, with the exception of one shot, was all filmed in a small puppet theater space, actors against black.

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

A tone poem about problems in a romantic relationship of a middle aged couple.

A movie by Jon Jost, who is the maestro of the American experimental movie world. The film tells us the strange incidents that happen in the ruined old village. Comparing to Jon Jost’s previous movies, this film has a clearer narrative and is more experimental with the structure as well. The essay film, which takes place in Missouri where they live an outdated lifestyle and where old culture still exists, confuses the boundary between fiction and non-fiction. The movie is based from a true story but instead of telling the exact story, the director casts real actors and gives a little twist to it. The actors explain about the inhumane incidents that happened in the village and while reviving it, they create their own narratives.

Jon Jost describes his 2021 collage-as-narrative feature “Tourists” as “an exploration of many things—the writer Raymond Carver, the town Port Angeles, the nature of writing stories and poetry, the interplay between writing and acting, the nature of fiction and truth.” Jost works with his customary no-budget maximal minimalism, combining offhand frames of straightforward beat-down beauty, and in some sequences, on-screen titles, video effects and even performances that play out via Zoom-style split-screen.

A man who is dissatisfied with his family life leaves home for weeks at a time, drifting from town to town.

"Imagens de uma cidade perdida" is a portrait of an old area of Lisbon, primarily the Alfama, but also other central areas - Castelo São Jorge, Graça, Bairro Alto, and elsewhere. It was shot in 1997-98, over the span of more than a year. Like those places, its pace is languid and it wears the sense of "saudade" which defines Lisboa and Portugal.

Muri Romani is a somewhat radical type of documentary. In appearance, it is utter simplicity. For example, the image of a patch of wall in Rome, today. As one watches, the wall seems to change, invisibly, without technical means. The sound is a collage of street sounds: motorinos, bells, people talking, trams, and sirens -- the daily sounds of central Rome.

Nas Correntes de Luz da Ria Formosa (In the Rays of Light of Ria Formosa) is a kind of documentary shot over a period of 3 months in summer of 1997 and then edited over the next 2 and a half years. The work is a spiritual portrait of a place and time. It is, as is Cabanas, willfully slow, meditative, passive. It has no evident narrative, though I hope I was able in my editing and other choices to impart a kind of slowly developing momentum which functions vaguely like a narrative, or like the melodic line in a piece of music. Finally LUZ is about light, and philosophically about life, and our place on this planet, and its place in the universe.

The wood song weaved as if it were a dream.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

A bluesy lyrical romance of two ugly-ducklings who meet on the Golden Gate Bridge and after a brief and awkward courtship, live together with the usual problems of money and work, take flight to an illusory freedom on the road, and dances inexorably to a drab doom.

Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.

Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.

Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.

Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

Vergessensfuge is a meditation on the psychology of obedience and submission, in this instance springing from a handful of photographs taken in the Bergen-Belsen concentration camp immediately after its liberation in 1945. The images are of young women, aged 20 - 30, who were guards at the camp - to say, compliant, obedient Germans doing as they were told to do.

An enchanting moving painting. Digital colour shifts like a palette knife in greasy paint. For those who want to undergo the drug intoxication without chemicals. The work is made up of a compilation of material that the film maker has developed and processed in recent years. These are the fruits of many experiments within the limited visual possibilities of digital video. They are rooted in the experiments and observations of the experimental cinema.

Times are hard for Northwestern lumber-mill operators like Ray and his wife Jean. Ray and Jean's lives are thrown into chaos when their daughter writes home from college, claiming to have a horrifying revelation.

Times are hard for Northwestern lumber-mill operators like Ray and his wife Jean. Ray and Jean's lives are thrown into chaos when their daughter writes home from college, claiming to have a horrifying revelation.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

Short film by Jon Jost.

A political film about Iraq and America.

Placed in a small seaside area north of Rome, of late popular with the intelligentsia and artists, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe.

A portrait of the London city - including tourist sites and trading markets.

Placed in a small seaside area north of Rome, of late popular with the intelligentsia and artists, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe.

A portrait of the London city - including tourist sites and trading markets.

Placed in a small seaside area north of Rome, of late popular with the intelligentsia and artists, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe.

Placed in a small seaside area north of Rome, of late popular with the intelligentsia and artists, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe.

A portrait of the London city - including tourist sites and trading markets.

Placed in a small seaside area north of Rome, of late popular with the intelligentsia and artists, La Lunga Ombra provides a portrait of 3 professional women under the hidden duress of post 9-11 Italy, and more broadly, Europe.

Meditative piece of abstract video art rooted in Christian iconography.

Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

A film that Jon Jost dedicated to his daughter Clara, an artistically designed home movie and at the same time a look back at his life, mostly commented off-screen by Jon Jost. He used the technology of the digital camera which contrasts nicely with his newly discovered love for watercolor painting.

ROMA is a hastily drawn together documentary/essay on Rome, drawn from a large amount of material collected over two or three years, and put together in haste for an Italian television commission. The material had all been done for myself, but this particular collection of material was drawn together under a deadline and time limitation set by others. As such I feel it is only partly my own expression, done under the gun for other interests, and to make some needed money. As such this work is compromised - while clearly my own in vision, it is not what I would really do with the material, to which I hope sometime to return. But in the meantime it provides a glimpse of Rome - its deep history, its opulent arts, and its sprawling contemporary urban reality.

The Portuguese Revolution (1974-75) seen through the eyes of some of the most important photographers and filmmakers that witnessed the event. Their dreams and expectations and what came out of the revolution. With outstanding historical footage.

Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.

Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.

Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.

Set in the quasi-Biblical splendor of the Mormon Dixie of central Utah, Sure Fire follows the trajectory of an American archetype, the small town entrepreneur seized by visions of fortune. Wes, eager to sell out the local grandeur to the wealthy hordes of Southern California, wheels and deals in real-estate, but more fundamentally he hones in directly to the get-rich-quick schemes for which America is famed. Sweeping up family and friends into his monomania, Wes' zealotry leads inevitably to tragedy.

An American independent director comes to Italy to shoot a film. But inconveniences and obstacles stand in the way at every step. These are the years in which “Tangentopoli” rages and the golden rule of officials and collaborators is “one (bribe) to you, one to me, one to Raffaele”.

Swimming in Nebraska

As night falls, the receptionist of a small hotel dutifully performs her routine tasks while strange lodgers descend upon the dark corners of the inn.

A fictional/documentary tone-poem, making for a kind of portrait of the town of Walkerville, Montana, and of the lead actor, Gary Winterholler, who had suffered a severe stroke several years earlier and was in a process of recuperation. There is no “story” or “narrative”, rather a kind of atmosphere and ambience in which a feeling for the town and its present and former inhabitants, and compassion for Gary, are generated by means more akin to music and poetry than narrative/story-telling.

Three screens showing documentary footage meld into one.

A Bohemian and a five-year-old take walks on the outskirts of Osijek.

A digital diary reflecting Jon Jost's experiences in India in 2003, when he was teaching filmmaking with digital cameras there. The material in this impressionistic film is adapted to the Indian way of life, with the cheerfulness of vibrant colors contrasting with impressions from one of India's poorest regions.