London Film-Makers' Co-op

A time-lapse study of a London park during the course of a summer day

Three people with cameras converge on a remote location near Hay Toor in Dartmoor.

The view through the filmmaker’s window opens up the flat surface of the film screen.

As she recollects her childhood, the filmmaker reflects on time, family and ageing.

Anne Rees-Mogg pays tribute to Muybridge’s studies of human motion with this portrait of filmmaker Renny Croft.

A documentary on life, filmic time and stock car racing.

Victorian lantern slides and a ‘patriotic’ rendering of God Save the Queen

A poetic tutorial about how to make an experimental film

The delicate everyday beauty of soap bubbles, moving water and rainbow reflections.

The filmmaker revisits the landscape of her youth and her memory of it

The filmmaker re-evokes the presence of her great-grandfather, Henry Stiles Savory, a Victorian clergyman, photographer and scientist.

Two girls become 18th century ladies in this short film about the assumption of roles.

Film No. 1 emphasizes the material process of film printing through repetition, seriality and permutations of colour

An anti-nuclear film on a community living in proximity to uranium mines in Canada.

A carefully controlled reflection on the process of filmmaking, playfully demonstrating the camera as a tool for constructing a filmed image.

A vertiginous lesbian kiss in a mountain cablecar inspired by German expressionism.

A cinematographic response to Sylvia Plath’s Lady Lazarus with Plath’s own readings of her poetry

A filmic exploration of the working conditions of female nuclear workers.

A first-person essay on the experience of anorexia and its cultural causes

Uranium mining in Canada and the destruction of the environment

A fractured narrative on a female worker at a plutonium terminal

An exuberant night out in buzzing 1960s Gloucester Road.

A film on unemployment, which was made to be shown at Claimants Union meetings.

A radical, anti-representational film set against the backdrop of the Nicaraguan revolution

Domestic interiors are interrogated by a restless camera in this radical, anti-narrative film.

A static shot of a hallway, demystified and disrupted by quick cuts and an alarm ringing.

A problematisation of the relation between spectator and photographic image.

A photograph of Nico is abstracted beyond recognition through a zoom.

Five layers of optical superimposition demonstrate film as a construct.

A structuralist collage emphasizing the difference between 8mm and 16mm film gauges

A film by an early British pioneer of computer generated filmmaking.

An anti-montage film hovering on the line between abstraction and representation

Details, fragments, transformations and shadows of a confined space.

An impassioned embrace on an ocean pier to 'The Ten Commandments of Love'.

A film on the theme of women’s work and free time

A reflection on the relationship between language and work

Looking outside and looking back in the same moment; the collision of memory and reluctance.

Reveries during a train journey are suggested though montage

A feminist collage/essay film that takes a critical look at certain feminist theories.

A beautifully painted animated critique of modern intensive farming methods

A council launderette as a site of oppression and possible resistance

A woman remembers her past while travelling on the London Underground

Close-up images of a white swan as it prepares for flight

An urban fairy tale where myth and reality constantly collide

Meaning is built through repetition in this filmic meditation of sexuality, loss and rebirth.

A traditional ‘still life’ serves as subject for a film on colour transformation

Images of fireworks superimposed in the camera and in the optical printer

Clouds filmed from a moving car producing the illusion of space within the frame

Classic expanded cinema work that proposes a direct relationship between the sonic and the visual.

Double-screen found-footage film in which car crash tests take a sinister and humorous quality.

Actor and cameraman engage in a game of ‘grandmother’s footsteps’ in a playfully delightful film.

Polaroid portraits of the filmmaker’s friends are filmed against various backdrops

An experiential journey through the landscape of Cezanne’s Provence.

A tragic journey of self-discovery through land, sea and the body

A woman searches through an interior landscape, where she is both trapped and contained

A homoerotic homage to Genet and Lautréamont with an angel and a hermaphrodite.

A study of frustration and insolence featuring an epicene angel played by Cerith Wyn Evans

A girl alone in her room, smoking, putting on make-up, masturbating.

Two masked women make love while playing the board game.

A woman in a bedroom, alone with her own thoughts .

A woman loses her head to a cat in return for a man.

A film which attempts to reflect the rigour of the music featuring pianist Katharina Wolpe.

Three potentially violent domestic activities performed by a woman.

A stop-motion collage film that constructs a garden out of flowers, candles, plastic cellophane and food

A young woman shakes eels out from between the sheets of a bed.

A quotidian yet abstract bathroom sequence, printed on high-contrast negative film.

Tentative gestures of hands and body become symbolic of trust and the need to escape

A film in three parts shot in varying intimate and personal environments.

A metaphorical and lyrical journey of discovery through childhood memories

Black and white images of lapping water are juxtaposed with and superimposed upon Battersea Power Station in this double-screen film.

An intimate encounter suggested by two pairs of hands

Boundaries are blurred as images of a woman’s body are projected onto domestic objects

A domestic scene with a man and woman, as seen through a window

Frame by frame analysis of documentary footage taken at a children’s Christmas party.

The lens is removed from the camera resulting in a complex interplay of light patterns

A film that attempts to create the rhythm and transience of felt experience.

Instinctive yet formal, a film that takes a drawing of a cross as a score.

An experiential film that captures the filmmaker’s flux-like process of being in a room, filming.

An exultant journey through the emotional landscape of the filmmaker’s native Gibraltar.

An image of freedom and the melancholy of parting in this film about Gibraltar

Extreme state of religious and sexual ecstasy in this film on the figure of Saint Teresa

The camera circles the exterior of an empty theatre while a voice describes ‘imaginary presentations’ inside.

A critique of the institution of mental health care that questions ‘normal’ viewing habits.

A white linen sheet is filmed in a series of locations as focal point

A quintessential Co-op film made using the contact printer

This film questions the convincing illusion produced by the two great illusionists: Television and Cinema.

A film that raises questions about the associations between song lyrics and particular places.

A self-reflexive film in which a woman reads a text about shearing to camera.

In this structural-materialist film, colour is generated by landscape: from the sky, the grass and berries

A hand-scratched film on light, dark, insects and cinema

A girl broods over a failed love affair while the camera roves over her.

A man walks towards the camera to the sound of 'Jesus’ Blood Never Failed Me Yet'.

Two women in a swinging London living room in a film that questions acting.

Playful investigation of the filmic equipment, particularly camera and projector

A reel of 8mm film undergoes a mysterious transformation through refilming, colour changing and printing

The filmmaker explores the relationship of her own body to the filmmaking apparatus

A photomontage film that offers an interpretation of the mystery of the harvest.

Spring tides and menstrual cycles at the full and new moon

An image of the Yangtse bridge is re-filmed with a soundtrack of popular Chinese music.

A found-footage film made entirely from the countdown leader that is normally used to cue the start of films.

A circular form fluctuates in rhythms of light and sound in this hand-made film.

Reflections in fish tanks in the windows of restaurants in Chinatown, San Francisco.