As an actor, Pierre Clémenti became a post-new Wave icon through Luis Buñuel's Belle de jour (1967). Clémenti's role as a jealous gangster obsessed with the protagonist (Catherine Deneuve) was fascinating because of its fusion of angelic beauty with bottomless, headstrong energy, the trademark of his exceptional talent. His often uncommercial but ambitious choice of roles brought him together with many master directors from around the world: Luchino Visconti, Bernardo Bertolucci, Philippe Garrel, Liliana Cavani, Jacques Rivette, and more. 

Bruce Baillie, who died on April 10th of this year, was the pioneer of the "Western American Experimental Film" and the key figure in the pioneering avant-garde awakening in the San Francisco Bay Area in the sixties. In memoriam we show two of the main works by this underground poet: Mass for the Dakota Sioux is a picture-sound poem as a requiem for a native culture destroyed by "civilized" America (as an outsider, Baillie naturally identifies with the Sioux and orchestrates the Gregorian chorales on the soundtrack like an accusation to the world of the white conquerors).

Scottish poet filmmaker Margaret Tait (1918–1999) has long been one of the best-kept secrets of British cinema. In intimate films attuned to the secret life of things, people, and landscapes, Tait sought to reveal the other side of existence – the side we only notice when our own presence in the world comes to the foreground. An independent mind and eye, she focused on what she saw before her, be it the streets of Edinburgh, the crashing sea on Orkney or a pair of old boots in a barn, shedding an singular light on the manifold dimensions of things.