A police officer named John Spartan is brought out of cryogenic prison to chase down his dangerous enemy, Simon Phoenix. In a society where violence is outlawed, Spartan struggles to adapt while Phoenix wreaks havoc. Together with a rebellious group, Spartan fights to bring down a corrupt leader and restore order.

Destricted is an anthology of art films exploring human sexuality. It features explicit and unsimulated sexual content, challenging societal taboos and norms. The film explores various themes such as lust, sexual pleasure, exhibitionism, and sexual promiscuity. It delves into the controversial world of avant-garde cinema and its impact on the audience. With a diverse range of films, Destricted pushes boundaries and challenges traditional notions of sexuality and art.

Emily, a spoiled brat, fakes her own kidnapping to get attention. However, her plan backfires when she is accidentally abducted by a car thief. They embark on a wild road trip, pursued by her rich father and a detective, leading to a series of comedic and action-filled events.

After a plane crash strands two brothers on a lost continent where dinosaurs and humans live together in harmony, they disagree over escape plans. (Condensed cut of original mini-series to be a feature length as seen on Peacock).

The work follows Greek philosopher Galen’s classification of four personality dispositions—sanguine, choleric, phlegmatic, and melancholic. In the film, Blanchett is seen playing four characters, each representing one of the temperaments. Denoted by color, we see the actor’s face appear on the screen bathed in yellow portraying sanguine, red for choleric, blue as melancholic, and green for phlegmatic. As Blanchett’s personalities are displayed in a series of synchronized images, she begins establishing each distinguished character.

3-channel high-definition video installation

Inspired by Yves Klein’s Leap into the Void (1960), Superstar was commissioned by Creative Time to be presented on the Jumbotron screen in Times Square, New York City. The subject appears perpetually frozen in time while the document of the moment itself slowly descends. Filmed in a pre-Matrix era, the performance in Superstar was captured with 180 cameras mounted in a 360 degree ring that show a 1/500 second wedge of time.

Filmed in 35mm at nine revolving restaurants across North America—including ones in Seattle, Las Vegas, St. Louis, and New York—Cyclorama presents nine panoramas side by side in a cylindrical enclosure that mimics the restaurants’ architecture, creating the sense of one continuous, moving landscape. The sun rises at the same moment on each screen, erasing time zones and providing a 360-degree view of the Western horizon.

Filmed at John F. Kennedy Airport, Approach catches passengers arriving from long-haul flights as they enter the terminal looking for contact with someone familiar. The footage was shot on camcorders equipped with telephoto lenses and the footage is slowed down to emphasize the moment of transition that each subject experiences as they arrive. The installation consists of 4 screens, with a 1-second delay between the identical images in each screen.

The history of humankind is illustrated as a vast side-scrolling video mural depicting the spectacle of human conflict across time through the lens of cinema.

Work by artist Marco Brambilla.

Creating a continuous loop through cinematic history, New York-based video artist Marco Bramilla satirizes seminal moments of the silver screen in large-scale video installation, Heaven’s Gate. Oscillating between hyper-saturated imagery, capturing the polarities of the Hollywood spectacle, the piece explores the tensions and intersections of religion, industry, and celebrity – the meteoric rise and catastrophic falls, and the loss of innocence to experience and excess.

Cathedral was filmed at the Toronto Eaton Centre mega mall during the Christmas shopping season. Here is consumerism as spectacle: Throngs of shoppers circulate in slow motion, in superimposed and multi-layered images that transform the mall into a kaleidoscopic, hallucinatory space. The cyclical montage is inspired by the time and motion studies of Frederick Winslow Taylor and Frank Gilbreth, which date from the American industrial revolution of the late nineteenth century. The video is installed in a mirrored box, bringing the video into three dimensions and further multiplying the images.

The line between man and machine is blurred in this 3D video collage. Commissioned by Ferrari S.p.A., RPM presents a compelling psychological portrait of a Formula One driver's point-of-view during a race.

In this computer-generated “time-lapse study” of the 1969 Apollo 11 moon landing, the Eagle spacecraft and the American flag planted alongside are shown as they slowly disintegrate. Beginning with the original image transmitted on television, the video compresses years into seconds, until nothing remains but a pile of rubble—a cynical commentary on the decay of American idealism from the ’60s to the present day. The sound is taken from recorded radio transmissions between mission control and the lunar base, but the dialogue has been removed; all that remains are the beeping radio carrier signals, static, and interference.

4K ultra-high definition, dual-screen video tile display in custom enclosure

'Sync' is made up of sampled images from sex scenes in mainstream and adult films. The formulaic and often derivative nature of the way this subject is interpreted in cinema is emphasised, creating a strong subliminal impression which gradually builds to a state of sensory overload. 'Sync' uses samples as short as single frames edited together to create the impression of motion. The original continuity and narrative in the source material is eliminated, and a new visual choreography emerges.

Civilization is a multi-layered tableau of interconnecting images that illustrates a contemporary, satirical take on the concepts of eternal punishment and celestial reward. More than 300 individual channels of looped video are blended into an expansive landscape that continuously scrolls upward, from the depths of hell to the gates of heaven.

Shot from the point of view of a passenger aircraft, Getaway begins with an aerial view of a generic industrial district and ends with a landing on the main runway at Los Angeles’s LAX airport. The video is presented on a small LCD screen in a plastic setting designed after a 1970s Pan Am airline tray—a relic from a time when passengers could fly in style

In the carnival act “Wall of Death,” first performed in the 1930s, a motorcyclist rides around the inside of a wooden drum, maintaining a delicate state of equilibrium between centrifugal force and gravity. The video is made up of a series of motion loops that become progressively shorter, creating the illusion of continuous motion: The rider is caught in a never-ending, never decelerating circle. The editing technique, inspired by the Kinetoscope films popular during the time the act was widely performed.