A three-dimensional narrative enacted at the California Poppy Reserve. It’s part of Mike Plante's Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmakers, Naomi Uman and Lee Lynch).
A celebration of the male form. A series of observations of men, filmed in beautiful black and white, with an almost total absence of the spoken word.
Begotten is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.
Covering the first half of Anger's career, from his landmark debut FIREWORKS in 1947 to his epic bacchanalia INAGURATION OF THE PLEASURE DOME, Fantoma is very proud to present the long-awaited first volume of films by this revolutionary and groundbreaking maverick, painstakingly restored and presented on DVD for the first time. Contains the films: Fireworks (1947) Puce Moment (1949) Rabbit's Moon (1950, the rarely seen original 16 minute version) Eaux d'Artifice (1953) Inauguration of the Pleasure Dome (1954)
Covering the second half of Anger's career, from his legendary SCORPIO RISING to his breathtaking phantasmagoria LUCIFER RISING, Fantoma is very proud to complete the cycle with this long-awaited final volume of films by this revolutionary and groundbreaking maverick, painstakingly restored and presented on DVD for the first time anywhere in the world. Contains the films: Scorpio Rising (1964) Kustom Kar Kommandos (1965) Invocation of My Demon Brother (1969) Rabbit's Moon (1979 version) Lucifer Rising (1981)
An unknown future. A boy confesses to the murder of another in an all-boy juvenile detention facility. More an exercise in style than storytelling, the story follows two detectives trying to uncover the case. Homosexual tension and explosive violence drives the story which delivers some weird and fascinating visuals.
Moonwalker is a 1988 American experimental anthology musical film starring Michael Jackson. Rather than featuring one continuous narrative, the film expresses the influence of fandom and innocence through a collection of short films about Jackson, some of which are long-form music videos from Jackson's 1987 album Bad. The film is named after his famous dance, "the moonwalk", which he originally learned as "the backslide" but perfected the dance into something no one had seen before. The movie's introduction is a type of music video for Jackson's "Man in the Mirror" but is not the official video for the song. The film then expresses a montage of Michael's career, which leads into a parody of his Bad video titled "Badder", followed by sections "Speed Demon" and "Leave Me Alone". What follows is the biggest section where Michael plays a hero with magical powers and saves three children from Mr. Big. This section is "Smooth Criminal" which leads into a performance of "Come Together".
Four high school friends hatch a plan for a farcical heist that sends them spiraling into a series of surreal events littered with clowns, fast food, and ‘rakenrol’, in an even more absurd nation of squalor and entertainment.
Saw and imagined in the children's fantasy the story of grandmother of Christ and the Apostles a little girl. Today few people remember that just a few decades ago in the village houses next to the icons you could still see the popular prints on religious themes. They finally disappeared from use only in the 60-ies of the last century. Of course, their creators were not professional painters or connoisseurs of theology. Drew, as best they could, she felt, not knowing neither rules nor laws. Simple uneducated people, nuggets, sought to glorify God with their creativity, that resonates in the hearts of those of peasants or artisans as they are.
The plot begins with them and ends with humanity. This author wanted to show continuity: the first love and the supposed last is an indivisible whole of one eternal Love.
The film is an allegory in which the attempt is made to show the inner process of movement of the composer's soul at the time of the birth of music.
CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.
CREMASTER 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 ...
CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore ...
A magician encounters the void that separates the human mind from divine consciousness and in turn faces the mad god.
A lucid dream turned nightmarish reality. A ship sinking into a world of fear. A short film that’s mostly puppetry by one of America's most prolific twentieth century artists.
An experimental short film that evokes moments in the life of a man recreated through the magic of memory. Made from documents from various sources, this film is composed of several scenes: the stages of the day and of life between joy and carefree youth, the cruelty of the working world, the horror of war. The final result is put into perspective with the birth of a child, perpetuating the cycle of life.
A lonesome man at the threshold of death finds himself trapped in a place called the Endless.
An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories.
Kinkón (1971), a silent adaptation of Merian C. Cooper and Ernest B. Schoedsack’s 1933 classic, King Kong. Zulueta re-filmed a television broadcast of the original, and through creative subtraction and manipulation of camera speed, condensed the original’s feature length to an intensified seven minutes. The cathode-ray flicker and flattening that results from the re-filming defamiliarises the original, but its classical continuity mode of address continues to operate on the viewer, and the increase in velocity makes mesmerisingly urgent the dramatic plot of the original. —Senses of Cinema