In the seventies Barry Gerson became one of the great filmmakers of US experimental film with his hypnotic pieces about “the minimal, free forms of nature […] his content is magic and deals with the essence of cinema” (Jonas Mekas). But in 1983 he stopped filming for over two decades, and his films have hardly been shown since. To celebrate his return to filming, this retrospective session is an extraordinary opportunity to see an essential part of his best work, and includes two of his new films. The cinema of Gerson—who started out designing light sculptures in his bedroom at the age of three—has joined the tradition of painters such as Malevich, Mondrian, Kandinsky and Rothko, or the poetic methods of Ozu. Films that observe with minimalist delicacy the appearance of the world, to reveal, through light, interior states, the mysteries of dream, and the hidden realities “where everything is possible”.