Trypps #7 (Badlands)
Top 1 Billed Cast
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welcome_home.exe(en)
As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.
Closed Vagina(ja)
Adachi's follow-up to Bowl using the figure of a woman suffering from an unusual sexual aliment has often been taken as a controversial allegory for the political stalemate of the Leftist student movement after their impressive wave of massive fiery protests failed to defeat the neo-imperialist Japan-US Security Treaty. The ritualistic solemnity of the charged sexual scenes contribute to the oneiric qualities of Closed Vagina which Adachi would later insist was an open work, not meant to deliver any kind of deliberate political message. - Harvard Film Archive
Joseph Cornell: Worlds in a Box(en)
This is a 1991 documentary film about the legendary artist and filmmaker, Joseph Cornell, who made those magnificent and strange collage boxes. He was also one of our great experimental filmmakers and once apparently made Salvador Dali extremely jealous at a screening of his masterpiece, Rose Hobart. In this film we get to hear people like Susan Sontag, Stan Brakhage, and Tony Curtis talk about their friendships with the artist. It turns out that Curtis was quite a collector and he seemed to have a very deep understanding of what Cornell was doing in his work.
Nocturne(es)
After ending a very close relationship, Manuel falls into melancholy and begins to rethink his way of loving. Within his thoughts are the social problems that surround him. He realizes that with these comes a rethinking of what love is. An idea that we have been carrying for a long time: the idea that to love is to possess.
First Day in the Grave(en)
A student movie loosely based on the short story by Sadegh Chubak
Islands(fr)
A sexual reverie unfolds over the course of one ethereal night. Characters wander through an erotic maze of love and lust, blurring the lines between wet dream and lucid nightmare as a macabre, erotic stage performance sends a ripple of lustful desires through its audience and performers.
Crash!(en)
Short film produced by the BBC about JG Ballard's Crash. “The film was a product of the most experimental, darkest phase of Ballard’s career. It was an era of psychological blowback from the sudden, shocking death of his wife in 1964, an era that had produced the cut-up ‘condensed novels’ of Atrocity plus a series of strange collages and ‘advertisers’ announcements. After Freud’s exploration within the psyche it is now the outer world of reality which must be quantified and eroticised. Later there were further literary experiments, concrete poems and ‘impressionistic’ film reviews, and an aborted multimedia theatrical play based around car crashes. After that came an actual gallery exhibition of crashed cars, replete with strippers and the drunken destruction of the ‘exhibits’ by an enraged audience.” (from: http://aaaaaaaaaaaaaaaaaaaargh.blogspot.de/2013/01/short-film-adaptation-of-jg-ballards.html)
Seven Angels(en)
An invitation to enter the soul of an artist - director Erick Ifergan - through a highly personal retelling of the Orpheus tale suffused with Ifergan's striking paintings, sculpture and conceptual photography.
Verrückt(en)
Procedurally-generated frames slowly expand in density to visually explore the mind of a psychopathic, narcissistic teenager, up until the demise of the subject.
I...(en)
By painting and scratching directly on celluloid strips and then duplicating each image for two or more frames, Brakhage produced a flickering cycle of abstract shapes that bespeak the restlessness of his own character and sensibility; the titles of the segments (which Brakhage also intended to function as freestanding films) further emphasize his rejection of collective thinking in favor of personal vision. I..., proposes an unstable image of the self with its centerless collisions of diverse imagery. Small black shapes are superimposed over diffuse colors, and each moment seems to consume and obliterate the last in an emotionally charged rush that suggests a consciousness terrified of stasis and perpetually seeking renewal.
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