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Transformation is a short film crafted by Grzegorz G. Zgraj as part of his final student film dissertation. The film explores the structure of images and the relationship between sound and image. By using zoom and fragmented imagery alongside flute and prepared pianos, Zgraj illustrates the complexity of the visual structure.

At the time this personal take on the Latvian capital and its residents was made, it radically exceeded the ideological rhetoric of contemporary works. It presented one of the first expressions of the poetic documentary film movement, which rebelled against the regime with its stylistic experiments.

This structuralist film translates Rimbaud’s famous sonnet onto the film screen, thus placing it within the context of cinema. Where Rimbaud associated vowels with colours, the film represents them using different forms of video manipulation or camerawork – for instance, the letter “I” is represented by a jump cut.

This important film presaging the Ukrainian poetic school was intended as Osyka’s graduation work, but the diploma committee deemed it too formalist and rejected it. A panorama in a series of inquisitive shots of a crowded beach serves as a prologue for a lyrical study of the movements, faces, and bodies of the men, women, and children; of the sun and the sea.

A socio-critical reflection based on memories from the end of the war and post-war reconstruction. A meditative commentary on the state and future of the world is accompanied by memories of witnesses of various professions and a collage of archival materials from the theatre, workers’ meetings and celebrations, and scenes from factories, theatres, and childcare institutions.

A possessed talking spring, a clueless blind man, and wandering humanity, three Fates, and a grand pagan ritual: a dark, poetic, visually bewitching Estonian ballad that can be perceived as a celebration of the archaic world, ecological morality, and as a political allegory on a ritual cleansing for the extinction of an advanced society.

Sunlit images of kolkhoz farm workers during the harvest are interspersed with commentary celebrating rural collectivization and modernization. Yet strong lyrical tones of a disappearing world, old age, and loneliness permeate the ideological undertones of the film. Old villagers and half-demolished buildings symbolize the disappearing villages, deep-rootedness, and love for the land.

The gap between the human microcosm and the macro view of universal time is depicted in an associative montage using rhythm and tempo as a significant element. Against a backdrop of ebbing and flowing in nature, a human anthill frantically teems, pulsing with the cycles of waking and sleeping, birth and death, sunrise and sunset.

An accidental spill of developer on the negative film resulted in moving splotches whose motion, accompanied by rhythmic banging on a radiator, resembles a swarm of insects. Although Šamec intended his film as a parody of avant-garde movies, it was named best experimental film at the Genre Experimental Film Festival in Zagreb.

Hello, Berlin! is a short film which utilizes found promotional footage of socialist Berlin juxtaposed with footage of an aggressive first date. In the film, Werner used colour footage of an ethereal socialist Berlin as a form of sarcasm which meshes with the imperfect first date; the sarcasm deriving from Eastern Germany’s contentious and fraying relationship with socialism.

An observational anthropological study follows the life of the residents of the largest Roma settlement in Lithuania. Instead of the usual tendency to draw attention to their poverty, lack of education, and discrimination, the film focuses primarily on an ideologically unencumbered representation of everyday patterns of life.

A static view of the swelling sea surface and a concrete pillar looming in the distance on the horizon. The permanence of the concrete dominant is in stark contrast with the dynamic movement of the water mass.