Old cinema creates new cinema in a new context. Stolen old images, someone’s audio track, someone else’s soundscapes – they re-create, reinventing interactions, relations and dialogue in familiar footage. Telling new stories. Transforming it back into cinema.
Old cinema creates new cinema in a new context. Stolen old images, someone’s audio track, someone else’s soundscapes – they re-create, reinventing interactions, relations and dialogue in familiar footage. Telling new stories. Transforming it back into cinema.
1987-04-02
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10.0Return to 'burn' only to find out you're already in that urn.
10.0(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.
6.5CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...
4.6A psychiatrist tells two stories: one of a trans woman, the other of a pseudohermaphrodite.
10.0Cooper is given a decision that could help him finally make a difference or get him killed.
0.0The interface of contrary realities is torn. Passion and fear of unbelievable strength are connecting and scattering the siblings. What remains: the search for love - the getaway into another reality?
0.0An average working man who is alone in a world of deception finds himself in a marriage of convenience.
4.5Ion is a seemingly normal guy whose life goes by without a hitch. A phone call; a meeting with a friend; small, unimportant everyday situations. One day he gets into a car with two other people. They cross the border between Spain and France. The next morning, their lives will change forever.
0.0This highly stylized, critically acclaimed film from the 70's mixes silent film cards, a soundscape, color, opera music and atmosphere to explore the Freudian truths about men's fear of women that Wedekind powerfully exposed. A kinetic melodrama of the rise of a femme-fatale and her fate at the hands of Jack-the-Ripper. Rethinking Pabst's silent film and Alban Berg's opera.
0.0Rosso Fiorentino's painting "The Deposition of the Cross" comes to life. The Christ is gradually removed from his cross by the biblical characters who surround him.
5.6Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.
7.0The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
4.8Italian immigrant kidnaps a wealthy British woman, and they fall in love.
5.5Avant-garde homage to pre-revolution Russian silent movies, and to the poet Aleksandr Blok.
6.1Professor of language and philosophy Dominic Matei is struck by lightning and ages backwards from 70 to 40 in a week, attracting the world and the Nazis. While on the run, the professor meets a young woman who has her own experience with a lightning storm. Not only does Dominic find love again, but her new abilities hold the key to his research.
6.6A hospice nurse working at a spooky New Orleans plantation home finds herself entangled in a mystery involving the house's dark past.
0.0A take it or leave it auteur-experimental fiction exercise: two women are monitoring their dreams, dreams that may of course also be stark naked reality, at least to the dreamers, as they come and they go like bubbles, rising, floating, bursting. A man appears out of nowhere. Poet Peter Laugesen co-wrote the script with Tom Elling, who was Lars von Trier's director of photography on "The Element of Crime".
6.2A Japanese salaryman finds his body transforming into a weapon through sheer rage after his son is kidnapped by a gang of violent thugs.
5.2Sequence of five shots, each one with a particular color treatment, in which a man carrying a machine gun runs. He moves fast in the beginning but, as the end comes closer, he starts to walk in zigzag. Is he hurt?