Canadian Institute for Exploratory Cinemas anthology presents the complete works of Quebec filmmaker Etienne O'Leary. Pillar of the underground and initiator of a new movie language, the evanescent and glowing pictures of O 'Leary films shows us many compatriots: such as Pierre Clementi, Jean-Pierre and Pierre Molinier Bouyxou appearing under dazzling lights.

A three-part series looking at the early years of the film industry and motion pictures in Australia. The fims in the series include: Pictures that moved, the 1896-1920 (History of Australian Cinema), Passionate industry, the 1920-1930 (History of Australian Cinema), and Now you're talking 1930-1940 (History of Australian Cinema). Produced by the Australian Commonwealth Film Unit. Producers: Stanley Hawes, Frank Bagnall, Anthony Buckley. Director: Alan Anderson, Joan Long, Keith Gow. Writer: Joan Long, Keith Gow in collaboration with Judy Adamson and Graham Shirley. DOP/Cinematographer: George Alexander (Camera), Mick von Bornemann, Michael Edols. Narrator/Presenter: Max Meldrum, Leo McKern.

A disparate group of individuals takes refuge in an abandoned house when corpses begin to leave the graveyard in search of fresh human bodies to devour. The pragmatic Ben (Duane Jones) does his best to control the situation, but when the reanimated bodies surround the house, the other survivors begin to panic. As any semblance of order within the group begins to dissipate, the zombies start to find ways inside -- and one by one, the living humans become the prey of the deceased ones in horror legend George A. Romeros' first film.

A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife (Mia Farrow) becomes pregnant, paranoia over the safety of her unborn child begins to control her life. Winner of the Best Actress in a Supporting Role Award (Ruth Gordon) at the **Academy Awards** and the **Golden Globes.** Nominated for Best Actress (Mia Farrow) at the **BAFTA Awards.** *"One of the finest horror movies ever made." - Stephen Whitty, **Newark Star-Ledger***

One of the great taboo-smashers of the late '60s, directed by Tinto Brass, featuring interracial affairs, anti-Vietnam statements, violence versus sex. ATTRACTION (NEROSUBIANCO) will stun anyone expecting a standard softcore European sex flick as released originally in the US thru Radley Metzger's Audubon Films under the title THE ARTFUL PENETRATION OF BARBARA, then brace yourself for a whirlwind trip with a married woman whose journey through the psychedelic English youth scene awakens her to the carnal offerings of an African-American man, all set to by a searing soundtrack by FREEDOM, a tripped-out group formed from the remnants of PROCAL HARUM. Nearly plotless and often improvised, this undiscovered cult film distinctive tone and editing scheme anticipated everything in the following year releases of Nicolas Roeg PERFORMANCE, Kubrick's A CLOCKWORK ORANGE to our current post-MTV mindsets. Attraction succeeds not just as a series of kick-ass psych-rock clips, but as an abstract, dazzling expression of cinematic art.

Three British boarding school students (Malcolm McDowell, David Wood, Richard Warwick) decide to revolt and turn their repressive school upside down. Nominated for Best English-Language Foreign Film at the **Golden Globes.** Nominated for Best Director and Best Screenplay at the **BAFTA Awards**. Winner of the Palme d'Or at the **Cannes Film Festival.** *"A film of tremendous resonance, coming when it did in 1968 with the force of a grenade." - Elliott Stein, **Village Voice***

This classically told monster movie directed by Vernon Sewell is set in motion when mutilated bodies begin appearing in the English countryside, drained of blood. Horror icon Peter Cushing stars as Detective Inspector Quennell, brought in to investigate the deaths.

An artist's observation of the way people walk. Ryan Larkin (Syrinx, Cityscape) employs a variety of techniques--line drawing, colour wash, etc.--to catch and reproduce the motion of people afoot.. The springing gait of youth, the mincing step of a high-heeled woman, the doddering amble of the elderly--all are registered with humour and individuality, to the accompaniment of special sound.. Nominated for Best Short Subject, Cartoons at the Academy Awards.

A film that has it all... a mad astro-scientist reviving corpses at his laboratory; two gore-crazed, solar-powered killer robot zombies; communist spies; deadly secret agents and an intrepid CIA agent Wendell Corey hot on their trail and trying to figure it all out. This cult favorite was written, produced and directed by cult legend, Ted Mikels melds into a high-powered fusion the films of Ed Wood, Russ Meyer and George Romero with undead cannibal gore chills, sexploitation thrills, '60's sci-fi mumbo-jumbo and Cold War espionage intrigue.

A wildly sexy time capsule from the swinging sixties, The girl on a motorcycle (1968) stars Alain Delon (Le samoura) and Marianne Faithfull, two actors at the height of their impressive cool, as lovers with a taste for the open road. Faithfull stars as Rebecca, a bored housewife who bolts from her home in the French countryside to visit her lover, Daniel (Delon), in Germany. Wearing nothing but a form-fitting black leather suit (the film was re-released in the U.S. as Naked under leather), the lusty Rebecca races across the country, and in flashback remembers the start of their affair. She recalls the initial, furtive glances in her father's bookstore, her elaborate sexual fantasies and their long-awaited consummation. Most important of all is the motorcycle itself, a gift from Daniel that seems to give her more pleasure than any man could deliver. Directed by legendary cinematographer Jack Cardiff (The red shoes) in pulsating psychedelic hues, The girl on a motorcycle has emerged from obscurity to become more than a cult favorite; it is a touchstone film of 1960s Euro youth culture.

A psychiatrist (Bernard Letrou) ventures to a remote castle to convince a brood of four vampire sisters that they are misguided, brainwashed by superstitious villagers, and not truly creatures of the Supernatural. The villagers (including director Jean Rollin) confuse and abuse the sisters, before finally storming the castle. The cast descends on a hospital run by a young doctor (Jean-Loup Philippe), charged by the Queen of the Vampires (Jacqueline Sieger) to discover a cure for vampirism. The bewildering action culminates in a "blood wedding" presided over by Sieger, in her regal hot pants, on the legendary stage of the now-defunct théâtre du Grand Guignol. The shoot was anything but professional. Everyone on the crew was making their first film. All copies of the script managed to get lost within two days, which quickly forced production into improvisation mode. Rollin opted to let the film become what it wanted to become. It was in the spirit of the times to experiment. The resulting film, The rape of the vampire (Le Viol du Vampire), is a glorious puzzlement, like nothing else in the horror genre.

Paralleling the dramatic student protests and riots that were exploding across the world in the 1960s at the time the film was made, THE CONFRONTATION is a story of protest and rebellion. Set in 1947 Hungary when the Communist Party have just taken power, dancing, singing Communist students debate Catholic seminary students at a People's college, all the while worrying their words will escalate into a fight. Jancsó's first color film is a virtuoso display by a director at the peak of his powers. The film eloquently explores the complex issues and inherent problems of revolutionary democracy, and was set to compete in the famously cancelled Cannes 1968.