Spik-Bebis (Nail-baby) lives in a warehouse. He starts the day by hitting a nail into his head. Shot entirely in Super-8, this live action film features “fast cars, fancy dinners and unusual hairdos”.

'Studie IV' (1955) by Peter Weiss portrays a liberation process. The main character moves between different rooms, rooms of significance for him, dragging something that constantly changes form but eventually turns out to be himself. It is an old and consumed I that disappears from him.

Study V: Interplay is constructed along the same principles as Study IV / Hallucinations. Sequences of photographic abstractions have been balanced against more realistic sections. Study V depicts a surrealistically charged encounter between two lovers, a young woman and a man.

Rondo may be perceived as an improvised stylistic exercise set to music. It was made with a statically fixed camera. Bright colors run together on a rotating disc. New layers of colors emerge and disappear according to chance. Patterns are formed and are followed by new shapes to the sound of the music from the loudspeakers. (Filmform)

A film about multi-media artist Kjartan Slettemark’s Nixon Visions, the collective title of his famous pictorial version of president Nixon, made 1971-74. It has its beginning in, among other things, Slettemark’s slogan ‘Opposition Must Pay Off’. The new, coffee-loving Nixon is marketed in a satirical balancing act between humor and seriousness. Slettemark’s advertising campaign is ‘a study of Nixon’s mental health’ in which ‘the face is the mirror of the soul’. (Filmform)

Painted pictures of castles, knights and flowers to a poem by Karl Vennberg.

Old photographs and pictures with a dialogless soundtrack of a train ride.

In Söderquist's first film [I frack] In Tuxedo, playfulness and improvisation are combined with absurd humor. An artist steps into an empty studio and begins assembling objects into a tree-like sculpture. The sculpture is adorned with small white paper clouds, puppets and undefinable items; all the while, the studio fills up with new things: a suitcase, a mirror and formal attire. The artist, now wearing a top hat and tuxedo, paints the paper clouds and the wall in a frenzy of activity, ending with his sitting exhausted in a corner surrounded by the mess he has created. The growing chaos, the various layers of narrative and the music of the soundtrack, which was improvised and recorded live during a viewing of the final film cut, interact in counterpoint.

Poetic film about Iris in different meanings.

"The White Hands" - 'I came to film in my capacity of poet, wanting to see whether I could express myself in pictures rather that in words-create a film poem. Not a traditional piece of lyric but something that suggests and hints and transmits its content even though it may not be comprehensible in a logic sense'. This is how Rut Hillarp described her film interpretation of the legend of Tristan and Isolde. She borrowed this classical theme from her collection of poetry The False Farewell. The White Hands is an attempted surrealistic visualization of a poem, using symbolic image sequences