15 May 1978
Claymation: Three Dimensional Clay Animation
A look inside the Will Vinton Studio, with specializes in stop-motion animations with clay. Preserved by the Academy Film Archive in 2013.
Picasso
“When Picasso died I wanted to make the first post-mortem documentary, as I knew would happen anyway, and cheaply. The film took four hours to finish from camera to print and cost a little under $5." Preserved by the Academy Film Archive in 2008.
19730h 3min
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Claymation: Three Dimensional Clay Animation Claymation: Three Dimensional Clay Animation Will She Get Over It? Will She Get Over It? 01 Jan 1971
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Experimental short film. Preserved by the Academy Film Archive in 2015
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Harlan County U.S.A. 
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This film documents the coal miners' strike against the Brookside Mine of the Eastover Mining Company in Harlan County, Kentucky in June, 1973. Eastover's refusal to sign a contract (when the miners joined with the United Mine Workers of America) led to the strike, which lasted more than a year and included violent battles between gun-toting company thugs/scabs and the picketing miners and their supportive women-folk. Director Barbara Kopple puts the strike into perspective by giving us some background on the historical plight of the miners and some history of the UMWA. Preserved by the Academy Film Archive in partnership with New York Women in Film & Television in 2004.
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Drunk and disillusioned Roman, Marcellus Gallio, wins Jesus' robe in a dice game after the crucifixion. Marcellus has never been a man of faith like his slave, Demetrius, but when Demetrius escapes with the robe, Marcellus experiences disturbing visions and feels guilty for his actions. Convinced that destroying the robe will cure him, Marcellus sets out to find Demetrius — and discovers his Christian faith along the way.
Projection Instructions 
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Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity. Preserved by the Academy Film Archive in 2014.
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No montage, no human subjects, minimal visual content, and the artists basically pissing on the fourth wall by calling attention in every way possible to the artifice of what they’re doing. Preserved by the Academy Film Archive in 2009.
I Don't Know 
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Five Film Exercises: Film 5 
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Opens with a short canonical statement of a theme upon which the entire film is constructed. The canon is repeated in contrasting variations by means of color. A second section poses the same image in deep film space. The image unfolds itself repeatedly, leaving the receding image to continue on smaller and smaller. Preserved by the Academy Film Archive in 2005.
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African-American Philadelphia police detective Virgil Tibbs is arrested on suspicion of murder by Bill Gillespie, the racist police chief of tiny Sparta, Mississippi. After Tibbs proves not only his own innocence but that of another man, he joins forces with Gillespie to track down the real killer. Their investigation takes them through every social level of the town, with Tibbs making enemies as well as unlikely friends as he hunts for the truth.
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An aging, decadent landlord’s passion for music becomes the undoing of his legacy as he sacrifices his wealth in order to compete with the opulent music room of his younger, richer neighbour.
Bambi Meets Godzilla 
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Bambi is nibbling the grass, unaware of the upcoming encounter with Godzilla. Who will win when they finally meet? Preserved by the Academy Film Archive in 2009.
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A young Catholic priest from Boston confronts bigotry, Nazism, and his own personal conflicts as he rises to the office of cardinal.
The Big Country 
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Retired wealthy sea captain Jim McKay arrives in the Old West, where he becomes embroiled in a feud between his future father-in-law, Major Terrill, and the rough and lawless Hannasseys over a valuable patch of land.
The Big Heat 
The Big Heat 14 Oct 1953
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After the suspicious suicide of a fellow cop, tough homicide detective Dave Bannion takes the law into his own hands when he sets out to smash a vicious crime syndicate.
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Blue Movie was made for the international Dome Show where it was projected down onto the muslin surface of David Rimmer's geodesic dome. The audience lay on the floor looking up at it, the inside of each eye finishing the globe. Preserved by the Academy Film Archive in 2013.
The Dance 
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With an irresistible humour, Rimmer speculates in The Dance on the nature of the film loop. We see a (1920s) couple whilring around a dance floor at a dizzying pace... Uncanny in its ability to evoke complexity of responses from a simplicity of means. Preserved by the Academy Film Archive in 2015.