(six DVD Boxset PAL interzone), public price: 79.95 euros
English, French and Lithuanian subtitles
DVD single titles, public price: 19.90 euros each

Co-edition: Potemkine, Re:Voir and Agnès B DVD
Distribution Belgium, France, Spain, Switzerland: Potemkine
Distribution the rest of the world: Re:Voir

In addition the following five titles by Jonas Mekas are forthcoming from Re:Voir:
Guns of the Trees (1962) - Sixties Quartet (Andy Warhol, John and Yoko, George Maciunas, Kennedy) (1964-1999)
- Scenes from Allen's Last Three Days on Earth as a Spirit (Allen Ginsberg) (1997) - Letter from Greenpoint (2004) - Sleepless Nights Stories (2011)

Jonas Mekas - Six-DVD Box Set: The Major Works:
The Brig (1964) -  Walden (1969) - Reminiscences of a Jouney to Lithuania (1972) - Lost Lost Lost (1976) -
As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) - Short Film Works

This box brings together the key works of Jonas Mekas, one of the most prolific avant-garde film artists and an acclaimed poet. Born in Lithuania in 1922, chased west by Soviet and Nazi forces, Mekas and his brother spent four years in German displaced persons' camps before arriving in New York in 1949 where they started shooting 16mm films on exile, military domination and poetic freedom. Jonas developed his diary style of filmmaking while busying himself as a film critic, programmer, organizer and distributor.

(DVD PAL interzone) 19,90 euros
16mm, 1976, color and black & white, 178'

"These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in November 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community, their attempts to adapt themselves to a new land and their tragic efforts to regain independence for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan. Reel three and reel four deal with my life in Manhattan on Orchard Street and East 13th St. First contacts with New York poetry and filmmaking communities. Robert Frank shooting The Sin of Jesus. LeRoy Jones, Ginsberg, Frank O'Hara reading at The Living Theatre. Documentation of the political protests of the late fifties and early sixties. First World Strike for Peace. Vigil in Times Square. Women for Peace. Air Raid protests. Reel five includes Rabbit Shit Haikus, a series of Haikus filmed in Vermont; scenes at the Film-Maker's Cooperative; filming Hallelujah the Hills; scenes of New York City. Reel six contains a trip to Flaherty Seminar, a visit to the seashore in Stony Brook; a portrait of Tiny Tim; opening of Twice a Man; excursions to the countryside seen from two different views; that of my own and that of Ken Jacobs whose footage is incorporated into this reel.

The period I am dealing with in these six reels was a period of desperation, of attempts to desperately grow roots into the new ground, to create new memories. In these six painful reels I tried to indicate how it feels to be in exile, how I felt in those years. These reels carry the title Lost Lost Lost, the title of a film myself and my brother wanted to make in 1949, and it indicates the mood we were in, in those years. It describes the mood of a Displaced Person who hasn't yet forgotten the native country but hasn't gained a new one. The sixth reel is a transitional reel where we begin to see some relaxation, where I begin to find moments of happiness. New life begins. What happens later, you'll have to see the next installment of reels ..."
- Jonas Mekas

(DVD PAL interzone) 19,90 euros
16mm, 1964, black & white, 65'

"I went to see The Brig, the play, the night it closed. The Becks were told to shut down and get out. The performance, by this time, was so precisely acted that it moved with the inevitability of life itself. As I watched it I thought: Suppose this was a real brig; suppose I was a newsreel reporter; suppose I got permission from the U.S. Marine Corps to go into one of their brigs and film the goings-on: What a document one could bring to the eyes of humanity! The way The Brig was being played now, it was a real brig, as far as I was concerned. This idea took possession of my mind and my senses so thoroughly that I walked out of the play. I didn't want to know anything about what would happen next in the play; I wanted to see it with my camera. I had to film it."
-- Jonas Mekas

(DVD PAL interzone) 19,90 euros
16mm, 1972, color, 82'

After a twenty-seven year absence, Adolfas and his brother Jonas returned to their birthplace in Lithuania. They had left Lithuania as young men, destined for a German labor camp. Now they came home for a visit, Adolfas with his wife, the singer Pola Chapelle.

"The film consists of three parts.
The first part is made up of footage I shot with my first Bolex, during my first years in America, mostly from 1950-1953. It shows me and my brother Adolfas, how we looked in those days; miscellaneous footage of immigrants in Brooklyn, picnicking, dancing, singing; the streets of Williamsburg.

The second part was shot in August 1971, in Lithuania. Almost all of the footage comes from Semeniskiai, the village I was born in. You see the old house, my mother (born 1887), all the brothers, goofing, celebrating our homecoming. You don't really see how Lithuania is today: you see it only through the memories of a Displaced Person back home for the first time in twenty-five years.

The third part begins with a parenthesis in Elmshorn, a suburb of Hamburg, where we spent a year in a forced labor camp during the war. After the parenthesis closes, we are in Vienna where I see some of my best friends - Peter Kubelka, Hermann Nitsch, Annette Michelson, Ken Jacobs. The film ends with the burning of the Vienna fruit market, August, 1971.

The soundtrack: For most of the film I speak of myself as a "displaced person," about my relationship to Home, Memory, Culture, Roots, Childhood. There are also a few Lithuanian songs sung by all the Mekas brothers."  - Jonas Mekas

(DVD PAL interzone) 19,90 euros
16mm, 1969, color, 180'

"Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it's a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don't get it at all. To go back and shoot it later, it would mean restaging, be it events or feelings. To get it now, as it happens, demands the total mastery of one's tools (in this case, Bolex): it has to register the reality to which I react and also it has to register my state of feeling (and all the memories) as I react. Which also means, that I had to do all the structuring (editing) right there, during the shooting, in the camera. All footage that you'll see in the Diaries is exactly as it came out from the camera: there was no way of achieving it in the editing room without destroying its form and content.
Walden contains materials from the years 1965-69, strung together in chronological order. For the soundtrack I used some of the sounds that I collected during the same period: voices, subways, much street noise, bits of Chopin (I am a romantic), and other significant and insignificant sounds."
-- Jonas Mekas

(DVD PAL interzone) 19,90 euros
16mm, 2000, color, 288'

"As I Was Moving Ahead... is a record of subtle feelings, emotions, daily joys of people as recorded in the voices, faces and small everyday activities of people I have met, or lived with, or observed -- something that I have been recording for many years. This, as opposed to the spectacular, entertaining, sensational, dramatic activities which dominate much of the contemporary film-making.
"Now, all this has to do with my understanding and belief of what acts really affect the positive changes in man, society, humanity. I am interested in recording the subtle, almost invisible acts, experiences, feelings, as opposed to the tough, harsh, loud, violent activities and political actions, and especially, political systems of our time. As a film-maker, I am taking a stand for the politics that have been practiced by some of the artists of my generation who believe that more essential, positive contributions to the upholding and furthering of the best in humanity, have been made, say, by John Cage or Albert Camus, and not by the great political figures of the 20th century.

The film is not conceived as a documentary film, however. It follows a tradition established by modern film poets. I am interested in intensifying the fleeting moments of reality by a personal way of filming and structuring my material. A lot of importance is being given to color, movement, rhythm and structure -- all very essential to the subject matter I am pursuing. I have spent many years developing and perfecting a way of catching the immediacy without interfering with it, without destroying it. I believe that some of the content that I am trying to record with my camera and share with others, can be caught only very indirectly though the intensity of personal involvement."
-- Jonas Mekas

(DVD PAL interzone) 19,90 euros

Cassis (1966, 4 min.)
Notes on the Circus (1966, 12 min.)
Hare Krishna (1966, 4 min.)
Report from Millbrook (1965-66, 12 min.)
Time and Fortune Vietnam Newsreel (1968, 4 min.)
Travel Songs (1967-81, 25 min.)
Quartet Number One (1991, 8 min.)
Imperfect Three-Image Films (1995, 6 min.)
Song of Avignon (1998, 5 min.)
Mozart, Wien & Elvis (2000, 3 min.)
Williamsburg (1949-2002, 15 min.)

This compilation of short film works brings together Jonas Mekas' many forms of expression throughout his career. At times funny, subversive, provocative, ironic, and fundamentally free, this panorama also shows us the sharp eye and acerbic wit that makes Jonas Mekas more than a filmmaker: a lover of life and people that he embraces with his camera, whose montages sing of eternity.