Triptych (2020) is a homage to the the radical, political album, ‘We Insist!’ (1960) by the jazz musician Max Roach – the ideas of which prefigured the themes that became the Civil Rights and anti-apartheid movements. The catalyst for this film was the broadcasted portraits of figures such as Breonna Taylor and George Floyd, and the evident incongruity between the beguiling ordinariness of the images that represented them with the violent end we know they endured. Through a rare focus on portraiture, Akomfrah seeks to express the diversity of Black characters, characteristics and characterisations that should form the bedrock of any de-colonial or anti-racist future.

A casting up off of hands ironically employs a composition of renunciation. "Foregone Conclusion" for the dame the world as butterfly is perceived "Edit Synch" for the little boy down the land as crystal abstracted "Concluding Cone" and as rainbow trout for the master pondered. Hand made sound, hand made and lens-captured images. "Golly, I'm glad I'm not your girlfriend." - Friend of a friend upon viewing TRIPTYCH

A view from a window overlooking Plac Wielkapolski, in Poznan, Poland. The space, divided into thirds by two trees, remains fixed. Time does not.

Trapped in an ice cave with a stoic lover beneath the House of Empath, The Bedroom Witch one night sees a promising vision of escape offered by the Fourth Sister. This overture, however, comes at a deadly consequence as 'Triptych' follows a story of obsession, murder, and a descent into madness. "Triptych" is a 19 minute concept film told through three music videos with prose interludes in between.

An excursion into the world of hand-made film emulsion and an exposition of some formal possibilities of using three images side by side. A dancer's brief gesture is treated, repeated, and juxtaposed, becoming the fabric of visual construction that is less about representation than rhythm and time. Originally a work for three projectors, it is here composited onto a single strand of film.

"Triptych" is a short experimental three-act film that reflects an attempt to visualize the laws and theories of the astrophysics in an art way.

Originally intended as a four-room media installation, allowing the viewer to "live" the film, come and go, Michael Pilz's essay about South Styrian painter Gerald Brettschuh was adapted to one 751 minutes sequential documentary with three parts and an epilogue. Part 1: The Use of Bodies, Part 2: As-If-Not, Part 3: The Party, Epilogue: Coda

A three-part love story: Alborada, Cénit y Ocaso (Sunrise, Noon and Sunset). A dying prince (Agüeros) lives a stormy love affair with a "femme fatale" (Padilla) who doesn't care for his feelings.

This intriguing mixture of melodrama and politics is not divided into three parts; the title instead refers to three female characters whose lives intersect in a small town in northern Uzbekistan during the difficult days following World War II. The first is an old woman trapped in a forced marriage; the second is a schoolteacher imposing progress on the remote region; the third, and most important, is Khalima (Kambarova), an illiterate but determined young woman who resolves to build her own house without either her husband's or the state's approval. The film's harsh vision of life in postwar Uzbekistan, as well as its ambivalent attitude toward the conflicting demands of individualism and collectivism, made it the object of official disapproval.

A yuppie who just got lucky is struck by a string of unlucky circumstances; a male model's life is upended because of evil boils appearing on his body; a folk singer's romantic ideals are put to the test as his beloved slowly changes into something he does not understand. These three funny, sometimes absurd, sometimes terrifying, and ultimately compelling stories make up "Triptiko."

Experimental Yugoslav short film.

The film is made up of three episodes: In the gulf of La Spezia, The Val D'Aosta and In the Picturesque Lagoon.

Abstract film made from the video capture of a live animation performance presented in Vienna on May 30th 2011 at the Stadtkirche with Andrea Martignoni in the context of the Vienna Independent Shorts Festival. It was a double performance where parts engraved directly on ±

16mm black film are inserted on a background made with the help of a live mixing software. The film is based, on the one hand, on a process of condensation and densification of the original footage of the performance that serves as a departure for interventions that intensify its energetic potentialities.

This film's three parts focus on three major events of 2008 in China: the March uprisings, the May earthquake, and the August Olympics. In Tagong, two young Tibetan girls play in the grasslands as the shouts of military drills reverberate through the town. In Qingchuan, three women burn paper money and light fireworks to mourn their lost loved ones on the 49th day after the earthquake. In Renshou, a migrant worker working on the demolition of a disaster area returns home during the Olympics to spray his rice fields.

A three-part short film of women's roles, power, frustration and desires. Three small movies that form a unit together. The first film treats the anxiety of being subordinate, the second film treats the frustration of being near somebody who wants to kill and the third film is about wanting someone.

Based on Mykhailo Kotsyubynsky's "Crimean Stories": "In the Shackles of Satan", "On the Stone" and "Under the Minarets".

The year is 1983. Found archival material depicts people in the small Bosnian town of Tešanj. Suddenly a well-known figure appears, the filmmaker’s grandfather who died in the Bosnian war. Repressed and hurtful feelings, but also a chance to remember, in a film that calls for reflection.

Experimental short movie adaptation of István Örkény's one-minute story "Information" by director Annabella Schnabel.

A three-part musical short film by the Serbian artist Konstrakta