خلاصه داستان : فیلمی تجربی‌ست که در آن به مدت 30 دقیقه مردی را نشان می‌دهد که از انتهای خیابای به سمت دوربین که با او فاصله‌ی نسبتاً زیادی دارد در حال حرکت است. ..

A man walks towards the camera down the end of a street to the sound of 'Jesus’ Blood Never Failed Me Yet', a composition by Gavin Bryars based on a loop of an anonymous homeless man singing the song. The man’s voice is progressively intensified by an instrumental accompaniment, which increases in density and richness, before the whole thing gradually fades out. Dwoskin’s film was produced to be shown during the premiere of Jesus' Blood Never Failed Me Yet at the Queen Elizabeth Hall, London in December 1972. For Dwoskin, it represents “… the singing voice of the last days of a London drunk (anonymous) as the orchestra raises him to heaven. The faint ghost image of a figure swims gradually to you through the grains of film low light…”

خلاصه داستان : این فیلم یک مجموعه‌ از نمایش‌های استریپ‌تیزی را که برای تماشاگران خیالی در یک کلوپ متروکه و نیمه‌مخروبه اجرا می‌شوند، نشان می‌دهد. ...

'Dyn Amo' is a 'drama' exploring the distinction between a person's self and his projection of that self to others; and it's a 'horror movie' tragically suggesting how a projection can become more substantial than the self behind it. Its subjects are role-playing (especially sexual role-playing), and the masochism of playing a role that conforms to others' exploitative interests.

خلاصه داستان : یکی از قابل توجه‌ترین فیلمهای تجربی، ساخته‌ی استیون دواسکین، که یوناس مكاس آن را \"تئاتر زندگی\" خواند. این فیلم آوانگارد که به آن کم توجهی شده، گروهی را نشان می‌دهد که پنج روز را با هم می‌گذارنند و در این مدت هر یک به دنبال کشف فانتزی‌های خود است.....

For this remarkable experimental film, the provocative avant-garde legend Stephen Dwoskin gathered together a group of strangers and filmed them as they explored their fantasies over a period of five days: a project that now sounds a little like TV's Big Brother. The ceremonial gowns and make-up here not only evoke the eroticism of European horror movies but also highlight the film's interplay between performance and intimacy. Jonas Mekas called it 'theatre of life'.

خلاصه داستان : مستندی درباره‌ی تکینگی و زیبایی جزییات سالخوردگی با کاوش در چهره‌، ژست و نگاه‌های آدم‌ها

Stephen Dwoskin’s final film is a meditation on the subjective experience and cultural concepts of ageing. The film is an ode to the texture, the beauty, the singularity of aging faces and silhouettes, a hypnotic poem in the Dwoskin meaning of the term which is long observations of very tiny details. A gesture, a pause, a look, a moment. Throughout his films intimacy has always played a leading role and this is also true for Age is..., all the faces being close friends, or close friends relatives and sometimes even Stephen himself.