Toute la memoire du monde, directed by Alain Resnais (1956, 21 mins): This classic French short is the essence of Alain Resnais in microcosm: time, space and memory are the hidden subjects of a documentary on the Bibliotheque Nationale in Paris. Ghislain Cloquet's camera follows the long halls and walkways, examines the dusty corners, rides the elevators while Maurice Jarre's music provides an eerie drama. One is reminded of de Chirico, of Cocteau's Orpheus, of Godard's Alphaville, of heaven, and of hell. (Note: Our print is in French, however there is relatively little narration and a complete written translation will be provided.) Horyuji Temple (Horyuji), directed by Susumu Hani (1958, English voice-over, 25 mins): Hani's celebrated documentary on the 1300-year-old Horyuji Temple focuses less on architecture than on feelings, captured in the peasant-like faces of the statues and in the peasants themselves who come to celebrate a little known festival at the well known temple. Hani finds in them "a kind of ecstasy." A documentary about ancient art and contemporary emotion, and vice versa. The Diary of Yunbogi (Yunbogi no nikki), directed by Nagisa Oshima (1965, 30 mins): This ingenious film is a montage of stills shot by Oshima while he was making A Tomb for Youth in Korea. From photos of poor children in South Korea he constructs a story of a boy named Yunbogi who sells chewing gum and newspapers in the street to support his family. The soundtrack is composed of excerpts from the boy's diary, opposed by Oshima's dialectic commentary. The result is one of Oshima's finest, most characteristic works: a very particular story of one boy, but also a story of Korea, where Japanese imperialism is a fact of life. Sunday in Peking (Dimanche à Pekin), directed by Chris Marker (1955, 19 mins, English voice-over): Chris Marker was a leader of the Left Bank group of New Wave filmmakers. With his brilliant, personal and socially committed documentaries he has been called the cinema's first essayist; for him, language is not sacrificed to the image but is an intriguing counterpoint to it. Marker has made several films in Asia including the recent Sans Soleil. Dimanche à Pekin is a typically witty and subjective Marker reaction to images of China circa 1955, with special emphasis on the constant contradiction between the old and the new. The Koumiko Mystery (Le Mystère Koumiko), directed by Chris Marker (1965, 47 mins, 35mm, Color (faded to pink), Print from PFA Collection): Marker studies a young Japanese woman, wandering about Tokyo during the 1964 Olympic games, asking her questions about how she feels about herself and the world. Koumiko comments vaguely on her feelings of separation from people and animals, of drifting with the tide of an anxious world. Amid the transience of a futuristic World's Fair-like atmosphere, Marker may exoticize Koumiko's ancient beauty but the "mystery" of the film's title is, quite simply, the mystery of individuality.