"In his description for A CHILD'S GARDEN, Brakhage quotes from poets Ronald Johnson and Charles Olson (and cites Johnson's poem "Beam 29" as inspiration). But the film also vaguely calls to mind William Blake—more perhaps for his art than his poetry: there is both a sense of darkness and of mystical transport in Brakhage's images. The first film in the loose "Vancouver Island" quartet, Brakhage films locations around the British Columbia locale where his second wife, Marilyn, grew up. He films land, sea, and sky and intercuts frequently between them. Shots are often out-of-focus, to accentuate color and light; they are hand-held, upside down, and fleeting. All of this is no surprise for those who know Brakhage's work: anything and everything is valid, as long as it works." - Cine-File.info
"In his description for A CHILD'S GARDEN, Brakhage quotes from poets Ronald Johnson and Charles Olson (and cites Johnson's poem "Beam 29" as inspiration). But the film also vaguely calls to mind William Blake—more perhaps for his art than his poetry: there is both a sense of darkness and of mystical transport in Brakhage's images. The first film in the loose "Vancouver Island" quartet, Brakhage films locations around the British Columbia locale where his second wife, Marilyn, grew up. He films land, sea, and sky and intercuts frequently between them. Shots are often out-of-focus, to accentuate color and light; they are hand-held, upside down, and fleeting. All of this is no surprise for those who know Brakhage's work: anything and everything is valid, as long as it works." - Cine-File.info
1991-01-01
6.3
A camera moves back and forth at an increasing pace. Back and forth, back and forth...
This is a story about a city guy Nikolai, who will have to go instead of his friend on a rural business trip. A series of funny events, meetings and the beauty of the Yakut village encourage Nikolai to make an important decision in his life…
A group of friends meet after some years apart and decide to go on a treasure hunt.
Western for the SDS portrays the development of the left as a learning process among women who sharpen their awareness in the movement but continue to have no say. The controversy surrounding the film is shown in the DFFB weekly newsreel Requiem for a Company. The Western was confiscated by the administration, and eighteen students who sided with Straschek were expelled from the academy. The film was considered lost until its rediscovery in 2018.
Shrek challenges Donkey, Puss in Boots and his other fairy tale character friends to spend the night in Lord Farquaad's haunted castle, telling scary stories to see who can resist becoming scared and stay the longest.
The sequel to The Visitors reunites us with those lovable ruffians from the French Medieval ages who - through magic - are transported into the present, with often drastic consequences. Godefroy de Montmirail travels to today to recover the missing family jewels and a sacred relic, guarantor of his wife-to-be's fertility. The confrontation between Godefroy's repellent servant Jack the Crack and his descendent, the effete Jacquart, present-day owner of the chateau, further complicates the matter.
The SD Gundams are at it again: first with a race among all of the prior SD Gundam characters, then the SD Zeons run a space travel agency in the second episode.
"Jennifer Lopez: All I Have" was the first concert residency by American entertainer Jennifer Lopez. Performed at Zappos Theater (formerly The AXIS Theater) located in the Planet Hollywood Resort & Casino in Las Vegas, Nevada, the residency began on January 20, 2016 and concluded on September 29, 2018. The show has received critical acclaim for its production and Lopez's showmanship. The residency grossed $101.9 million after 120 shows, making it the sixth highest-grossing Las Vegas residency of all time, and the top residency by a Latin artist.
When they were young, Min-joo and Seo-yeon cared for each other and were closer than brothers and sisters. However, she accidentally learns about Seo-yeon's tutor, Woo-hyeon, and because of this man, their 10-year friendship starts to become shaky. Meanwhile, Jeong-soo is hurt in seeing Min-joo like that, and so he distanced himself from Min-joo. Because of Min-joo and Seo-yeon's misunderstanding, Jeong-soo who couldn't care much might just leave so Min-joo tries to break up with the help of Seo-yeon. While in the process of breaking up, Min-joo and Seo-yeon went back to their close relationship. The love of women who have been separated because of man, and the two men's friendship is comically drawn.
When the puzzle box is once again solved, Pinhead and his legion demolish all who dare oppose them. But standing in his way is the only person who has defeated Cenobites of the past.
A project spanning three years of production and research, Lion is a collection of 7 short films exploring the Chernobyl disaster, the nature of radiation, memory, and personal history. Conceptually arranged in to a film “album”, Lion’s seven works navigate atomic fallout and a girl’s adolescence, a dream before death, radiation as a cause and cure for cancer, masculine bravado, feminine obsession, a trip to Chernobyl amongst the death of a matriarch, and the destruction of memory. Composed of seven works, Lion is a series of films created on 16mm and hand processed with darkroom techniques that mimic the effects of radiation on film. Researched in Chernobyl, the series is a product of memories, history, pop culture and technical experiments to create visual representations of invisible forces.
The sharks take bite out of the East Coast when the sharknado hits Washington, D.C. and Orlando, Florida.
Mary-Kate and Ashley star in this Down Under adventure filled with nonstop Aussie intrigue, laughs and romance. After running afoul of a notorious gangster, Mary-Kate and Ashley take refuge in the FBI Witness Protection Program. Unfortunately, the girls are uncontrollable blabbermouths and they blow their cover in town after town until there's only one hiding place left - Australia.
An actress visiting Hollywood for the first time books a dream apartment on AirBnB, only to discover a horrifying presence is staying there with her.
Amidst an old London clock shop, a small, quirky mantle clock comes to the aide of the store's more expensive clocks when a thief breaks in and threatens to steal them away.
Akbar, 18, has been held in a rehabilitation centre for committing murder at the age of sixteen. Now, Akbar is transferred to prison to await the day of his execution. A’la, a friend of Akbar, tries desperately to gain the consent of Akbar’s plaintiff so as to stop the execution.
Snow White asks the seven dwarfs for help, because if they don't manage to find out the name of a little boy (Rumpelstiltskin) within two days, her newborn child will be taken away from her. The journey takes the dwarves to a depressive, rhyming Pinocchio and the omniscient wizard Helge, among others, and all the way to the world of humans.
Tia and Tony are two orphaned youngsters with extraordinary powers. Lucas Deranian poses as their uncle in order to get the kids into the clutches of Deranian's megalomaniacal boss, evil millionaire Aristotle Bolt, who wants to exploit them. Jason, a cynical widower, helps Tia and Tony escape to witch mountain, while at the same time Tia and Tony help Jason escape the pain of the loss of his wife.
In this tape, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.
An 18-minute long single-channel video which uses CNN footage cut so that each word is spoken by a different newsperson. The pieces literally asks the viewers questions about media authenticity and give CNN a distinct voice
Black Hole Radio is an installation that consists of taped confessions of callers of the New York City Phone Confession Line and video images. The Phone Confession Line is based on anonymous callers ringing to confess on things they had done or thought like adultery, theft, murder or regrets. Thereafter anybody could call and listen to the confessions. Although making a confession was free, listening to a confession costs money. After Cohen got his hands on the confessions, he used them as an audio heartbeat to accompany video-images of every day life in New York City he had taken over the years. This installation is a portrait of the city with its dark secrets, hushed voices and nocturnal images. In this way Cohen tries to bring across an experience to the viewer that relies on absence, waiting and the effort to hear something in the dark.
Trance dances and out of body projection. In front of the camera, Parvaneh Navaï becomes a mediator who enters in contact with and immerses into the energies of Nature, while her own energy radiates and echos in the forest ("selva"). The camera amplifies and expands her presence, transforming the forest into an imaginary space. The camera becomes a painter's brush.
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.
Animal Charm makes videos from other people's videos. By compositing TV and reducing it to a kind of tic-ridden babble, they force television to not make sense. While this disruption is playful, it also reveals an overall 'essence' of mass culture that would not be apprehended otherwise. Videos such as Stuffing, Ashley, and Lightfoot Fever upset the hypnotic spectacle of TV viewing, revealing how advertising creates anxiety, how culture constructs "nature" and how conventional morality is dictated through seemingly neutral images. By forcing television to convulse like a raving lunatic, we might finally hear what it is actually saying.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
This documentary is a journey into our own fascination, a collection of portraits of folk musicians living in New England, and a study of the ground on which their music is founded. We listen to them as they tell their stories and play their music. First and foremost, Behind a Hill is a tribute to these musicians and a rare peep into the house parties and basement jams of New England, in the northwestern corner of the USA, with the vain hope attached that maybe you, the viewer, will grow as fond of the music as we have. When we first encountered these musicians, we were overwhelmed by the quality of their musical output. We were entranced by the melodies, harmonies, rhythms, and tempos and every other element that constitutes a song (or, as is often the case, a piece of abstract drone music, heavy feedback, or someone banging a steel pipe against a bag of dirt while chanting in a yet undiscovered language, or...).
Among the millions of victims of the Nazi madness during the Second World War, Pierre Seel was charged with homosexuality and imprisoned in the Schirmeck concentration camp. He survived this terrifying experience of torture and humiliation, and after the war he married, had three children, and tried to live a normal life. In 1982, however, he came to terms with his past and his true nature and decided to publicly reveal what he and thousands of other homosexuals branded with the Pink Triangle had undergone during the Nazi regime. Il Rosa Nudo (Naked Rose), inspired by the true story of Pierre Seel, depicts in a theatrical and evocative way the Homocaust, focusing on the scientific theories of SS Physician Carl Peter Værnet for the treatment of homosexuality, which paved the way for the Nazi persecution of gay men.
The second half of Gustav Deutsch's experimental Film ist. series, constructing new narratives and moods out of existing footage, mostly from early silent era films.
Canadian Pacific II is designed as a companion piece to Canadian Pacific I. Shot from a window two storeys higher and in the building adjacent to the artists’s studio of the previous year, one enters into a dream state… an involvement with a vocabulary of seeing and feeling by subtle transitions of the passage of time
The Quays' interest in esoteric illusions finds its perfect realization in this fascinating animated lecture on the art of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.
One morning, the late Karlheinz Stockhausen awoke from a dream that told him to take to the sky. Stockhausen envisioned four helicopters swirling in the clouds, with each of a quartet’s members tucked inside his own chopper, communicating through headsets, stringing away in sync to the rotor-blade motors. He immediately set forth to make that dream a reality. In 1995, Dutch film director Scheffer followed Stockhausen in the days leading up to the premiere performance of his Helicopter String Quartet in Amsterdam. The resulting film offers a rare glimpse of Stockhausen as he patiently dictates every agonizingly detailed measure to the Arditti Quartet.
The Darkness of Day is a haunting meditation on suicide. It is comprised entirely of found 16mm footage that had been discarded. The sadness, the isolation, and the desire to escape are recorded on film in various contexts. Voice-over readings from the journal kept by a brother of the filmmaker’s friend who committed suicide in 1990 intermix with a range of compelling stories, from the poignant double suicide of an elderly American couple to a Japanese teenager who jumped into a volcano, spawning over a thousand imitations. While this is a serious exploration of a cultural taboo, its lyrical qualities invite the viewer to approach the subject with understanding and compassion.
Montreal of another time is reborn into screen through images from a hundred of movies and shorts produced by the National Film Board of Canada while at its first four decades of existence. Port activities, musical shows, presence of Church, labors life, hockey fever and the best years of "Red Light" are few of the chapters of this collective family album.
From radical turntablism (Otomo Yoshihide) to laptop music innovation (Numb), via classical instrument hijacking (Sakamoto Hiromichi), Tokyo's avant-garde music scene is internationally known for its boldness. While introducing some of the greatest musicians of this scene, "We Don't Care About Music Anyway..." offers a kaleidoscopic view of Tokyo, confronting music and noise, sound and image, reality and representation, documentary and fiction.
From Dr Who to The Dark Side of the Moon to modern day dance music, the pioneering members of the Electronic Music Studios radically changed the sound-scape of the 20th Century. What the Future Sounded Like tells this fascinating story of British electronic music. What The Future Sounded Like mixes experimental visual and sonic techniques with animation and never-seen-since archival footage. A sonic and visual collage, this documentary colors in a lost chapter in music history, uncovering a group of composers and music engineers who harnessed technology and new ideas to re-imagine the boundaries of music and sound.
'Amy, is narrated by a model (Liisa Repo-Martell) who’s painfully uncomfortable with her own body and “old woman’s” face. Astonishing closing image is a tightly composed telephoto shot on the start of a marathon race among young schoolgirls, dashing toward and then across the screen in ultra-slo-mo, and accompanied by a girls’ chorus hauntingly singing Brian Wilson’s God Only Knows. Widely eclectic lensing and looks in various media and in color and black-and-white flow nicely from one section to the next, aided by gifted editor Mark Karbusicky.' ~ Robert Koehler, Variety - Part 7 of 7-part bio-feature Public Lighting (2004).