Michael Stipe recites all the things you can do in 60 seconds. Simon Pummell mounts a concise demonstration on relativity, showing what a minute means to a baby and to his great-grandmother. Harriman Steel give us 480 minutes - a night's sleep. Yet no two films feel as if they last the same time. With others, you can feel every second passing - and for once, that's by no means a bad thing.
Some films cram in as many cuts as possible, while others take the minute as an unbroken stretch.
Roman Coppola folds his minute in two in a witty reverse-time gag. Breda Beban crams her entire life story into a single shot of the palm of her hand. In View, photographer Michael Cleary turns voyeur culture on its head by pulling back slowly from a blurry close-up of a single window, which as it gains in clarity, disappears in the mass of a city nightscape. At least that was the theory, although I wouldn't bet your stopwatch on it. The actors, Lynda Steadman and Rupert Procter, produced some wonderful takes, then gamely went through another, then another, because they were a couple of seconds under or over.