And finally, here’s a link to Hamlet Hovsepian’s films on UbuWeb, just in case his lack of IMDb recognition causes anyone to doubt his existence or that of his work.
Also, I apologize for the quality of some of the images provided, but they were the best that I could acquire with such limited means.
(And yes, the last two images are indeed correct and do correspond to their respective films; they are not copies, nor have they been uploaded incorrectly)
Hentai Land (2004)
dir: Shozin FUKUI
Tokyo Biyori (1997)
dir: Naoto TAKENAKA
Dali In New York (1965)
dir: Jack Bond
http://img189.imageshack.us/img189/7284/vlcsnap00011s.png
Libido (1965, Ernesto Gastaldi and Vittorio Salerno)
The Possessed (1965, Luigi Bazzoni and Franco Rossellini)
Naked You Die (1968, Antonio Margheriti)
In the Folds of the Flesh (1970, Sergio Bergonzelli)
Oasis of Fear (1971, Umberto Lenzi)
French Sex Murders (1972, Ferdinando Merighi)
The Killer Must Kill Again (1975, Luigi Cozzi)
The Suspicious Death of a Minor (1975, Sergio Martino)
Reflections in Black (1975, Tano Cimarosa)
The Sister of Ursula (1978, Enzo Milioni)
Play Motel (1979, Mario Gariazzo)
Scorpion with Two Tails (1982, Sergio Martino)
Pra Frente, Brasil (1982)
DIR Roberto Farias

Ron & Leo
Dir: Oliver Husain (1999)

Correspondances, France/South Korea, 2009
Dir: Eugene Green


Dali in New York (1965)
dir:Jack Bond
Formula 17 (17 sui de tian kong,2004)
Dir. Chen Yun-jing
Eternal Summer (Sheng xia guang nian,2006)
Dir. Leste Chen
Candy Rain (Hua chi liao na nu hai,2008)
Dir.Chen Hung-I
Beautiful Crazy (Luan qing chun,2009)
Dir. Chi Y. Lee
Doomwatch (1972)
Dir. Peter Sasdy

Horror Hospital (1973)
Dir. Antony Balch

Gimme Some Truth: The Making of John Lennon Imagine Album (2000)
dir: Jonas Mekas, Andrew Solt

Signer’s Suitcase
(Switzerland, 1996)
Dir: Peter Liechti


Les États Nordiques (Drifting States) (Denis Côté, 2005)
[IMG] http://img12.imageshack.us/img12/4020/tatsnordiques1.jpg [/IMG]
http://imageshack.us/photo/my-images/12/tatsnordiques1.jpg/
http://imageshack.us/photo/my-images/862/tatsnordiques2.jpg/
La Sphatte (Denis Côté, 2003
http://img545.imageshack.us/img545/4061/lasphatte.jpg
Malcolm X: Make It Plain (1994)
dir: Orlando BAGWELL
N. a pris les dés… (1971)
Dir: Alain Robbe-Grillet

The Mysterians (1957)
Ishiro Honda
Don’t Go Away
dir. Lyudmil Kirkov
Bulgaria, 1976

Eternal Summer is already in the database.
http://mubi.com/films/eternal-summer
Death Knocks Twice (1969, Harald Philipp)
Spirits of Death (1971, Romano Scavolini)
The Fourth Victim (1971, Eugenio Martín)
The Killer is on the Phone (1972, Alberto de Martino)
The Perfect Crime (1978, Giuseppe Rosati)
Eyes of Crystal (2004, Eros Puglielli)
Pets or Meat: The Return to Flint (1992)
Dir: Michael Moore

The Appointments of Dennis Jennings (1988)
Dir: Dean Parisot

The Temptation of Saint Anthony / La Tentation de Saint Antoine (1898)
Dir: Georges Méliès


Blood: The Last Vampire (2000)
Dir: Hiroyuki Kitakubo
On the Roof / Sur les Toits (1897)
Dir: Georges Méliès

The Last Cartridges / Bombardement d’une Maison (1897)
Dir: Georges Méliès

Sea Fighting in Greece / Combat naval en Grèce (1897)
Dir: Georges Méliès

jesse brossoit
I’m not too sure how to submit something like this, so here’s a recommended Director Biography for Hamlet Hovsepian:
Born in 1950, Ashnak. Lives in Ashnak.
Hamlet Hovsepian works with film and video, performance art, land-art and abstract expressionist painting. Having lived and worked in Moscow from 1978 to 1980, Hovsepian formed a close relationship with the aesthetic avant-garde of the Russian capital, and held his first exhibition there. However, since returning to Armenia, the work of this solitary artist has been based in and around his native village of Ashnak, not far from Yerevan, which for him forms both an experimental laboratory and a front against society’s norms and pacified rules of conduct.
The oppressiveness of normality and everyday actions takes on an anti-humanist severity in Hovsepian’s short films Thinker (1975-76), Yawning (1975), Itch (1975), Head (1975) and Untitled (1976), recording the simple actions of their titles. The approach is raw and direct, despite the fact that some of the actions verge on the absurd, or are presented in an exaggerated way. The rhythm and movement of the almost abstract presentation succeeds in revealing the limits of reason and existence, overcoming a seemingly peripheral temporal and geographical context with such vigour that, as the critic Georg Schöllhammer has commented, ‘[it] places Hovsepian in a genealogy in which the films of the New York underground are also inscribed’.
— 11th International Istanbul Biennial