Shapes projected onto an abstract environment. The movement and scale of the forms in the film is a beautiful equivalent of the dynamics of the soundtrack
A portrait of a speaker, engrossed in his own speech, finds the hall empty.
The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.
A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.
Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.
When forest animals invade our cities, the world is in disarray. Office vixen Fiona struggles with her banana phone addiction. Will she succumb to it? Temperamental bunny Barbara only gives her stag sugar daddy Nestor his special massage, after he dines her and plays the big spender. This obscure short film pinpoints postmodern tropes of consumerism, eroticism, and art with an homage to the theater stage and references to literature. This work uses a fantasy language and needs no subtitles.
Doors in our life. Each has a melody, like a music box. They have stories, like a book. They will be opened one by one.
The film was produced applying mixed techniques on Super 8 film support.
The story of a man who has reached the very top of society and eventually became a victim of his own ideology.
Schwartz reordered and combined angular contours, broken planes, and distorted proportions in her own pictorial structures in an homage to Picasso's style.
Claire is composed of digital scans and blow-ups of a series of three ink-on-paper artworks created in 2012 by French-Spanish researcher, publisher and artist Claire Latxague. While collecting drawings, written documents and other printed materials for a (yet unreleased) project called Un film de papier, I’ve stumbled upon Latxague’s artwork, entitled À la renverse. The blow-ups were made in an attempt of unearthing cartographic imagery in abstract compositions.
A family political disagreement is interpreted under a dreamlike logic, where the protagonist is emotionally divided.
A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.