Arabic Numeral Series in order

Arabic Numeral Series 19 films, 2h 55m in all, in release order.

Arabic Numeral Series 1
1981 · 6 min
"With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not 'night,' or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. [...] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness. "
New
Arabic Numeral Series 2
1981 · 7 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness. ”
New
Arabic Numeral Series 3
1981 · 8 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 4
1981 · 8 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 5
1981 · 3 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 6
1981 · 11 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 7
1981 · 11 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 8
1981 · 7 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 9
1981 · 12 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 0 + 10
1981 · 28 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 11
1981 · 8 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 12
1981 · 18 min
This is the twelfth film in the twenty-part Arabics series. Brakhage creates blurry visual fields that are profoundly without ground, worlds of unidentifiable, ever-shifting shapes, and oceans of light and darkness.
New
Arabic Numeral Series 13
1981 · 3 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 14
1982 · 4 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 15
1982 · 6 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 16
1982 · 9 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 17
1982 · 8 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 18
1982 · 9 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New
Arabic Numeral Series 19
1982 · 9 min
“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness. But the darkness is not ‘night,’ or even simply some more abstract absence of light, but a more profound vacuum: it represents a world stripped of all the coordinates of the known, an unmeasurable absence. […] These lushly sensual, pleasurable-to-view films are also terrifying: their unpredictability, continually enacting new dramas of surprise, alternatively swamps the viewer in light and leaves him adrift in darkness.”
New

Frequently asked questions

What order should I watch Arabic Numeral Series in?

1. Arabic Numeral Series 1 (1981), 2. Arabic Numeral Series 2 (1981), 3. Arabic Numeral Series 3 (1981), 4. Arabic Numeral Series 4 (1981), 5. Arabic Numeral Series 5 (1981), 6. Arabic Numeral Series 6 (1981), 7. Arabic Numeral Series 7 (1981), 8. Arabic Numeral Series 8 (1981), 9. Arabic Numeral Series 9 (1981), 10. Arabic Numeral Series 0 + 10 (1981), 11. Arabic Numeral Series 11 (1981), 12. Arabic Numeral Series 12 (1981), 13. Arabic Numeral Series 13 (1981), 14. Arabic Numeral Series 14 (1982), 15. Arabic Numeral Series 15 (1982), 16. Arabic Numeral Series 16 (1982), 17. Arabic Numeral Series 17 (1982), 18. Arabic Numeral Series 18 (1982), 19. Arabic Numeral Series 19 (1982).

How long does it take to watch all of Arabic Numeral Series?

About 2h 55m across 19 released films.

Do any Arabic Numeral Series films have post-credit scenes?

None are listed on TMDB.