Harry Munter, a sensitive, kind, appealing man in his twenties, lives with his parents. He’s an inventor, a bit of a mystic, maybe a genius, and a good son and grandson. He’s offered work in the U.S. But a friend has cancer and the world is changing in ways that provoke profound sadness
Amos Vogel in “Film as Subversive Art”: ”A powerful, poetic image: the mystery of black against white, of an outsider walking on the water, on stilts, Christ-like, stubborn, the tension of his forward-leaning body reflecting his determination. This, indeed, is the topic of this intensely mysterious, lyrical film, one of the most original and disregarded works of contemporary cinema.” Continue reading
What a perfect film…..short and simple, Ono takes a camera and a boom mike onto a hot air balloon, kicks the rope, and starts the camera and lets us watch as it goes above the clouds for a 17 minute shot. Key things to notice: A roll of 16mm film films only 14 minutes yet the film runs for 17, meaning somewhere in the clouds Ono had another camera loaded and started when the first one ran out, yet somehow the splice is not noticeable and there weren’t any computers at the time to fix this sort of thing…..all i can say is optical printing tricks at its best. The last shot, as the balloon rises above the clouds, the wind silences, and the sun becomes visible, is alone worth checking out this timeless classic of experimental film. Continue reading
“Light as the symbol of the ineffable. The ‘plot’ of this subjective recreation of a dream seems to concern a mysterious journey; the spectator, however, is visually directed toward forms and substances rather than to the protagonists by a filmmaker who is a master of visionary cinema.” – Amos Vogel, Film as a Subversive Art
“Richard Myers has, thru his films, given us the ONLY consistently creative variable to dream-thinking in our time. All else, in film, slides toward surrealism and/or props itself with misplaced Freudian symbols, at best, or else gets lost in the Jung-le, at the verses. Myers’ work is rooted in what he doesn’t know about, just exactly what he knows – his own home grounds mid-America, and like D.W. Griffith he takes the great risk of being native to his art, attending it on its home-grown grounds/his-UNowned-dreams.” – Stan Brakhage Continue reading
Directed by Len Lye
US 1958, revised 1979, 16mm, b/w, 4 min.
In arguably his greatest film, Lye reduces the medium to its most basic elements by scratching designs on black film. He used a variety of scribers ranging from dental tools to an ancient Native American arrowhead, and synchronized the images to traditional African music (a field tape of the Bagirmi tribe). The film won second prize in the International Experimental Film Competition, which was judged by Man Ray, Norman McLaren, Alexander Alexeiff and others at the 1958 World’s Fair in Brussels. In 1979 Lye further condensed the film by dropping a minute of footage. Stan Brakhage described the final version as “an almost unbelievably immense masterpiece (a brief epic).” Continue reading
The Flowers of St. Francis—or, Francesco, giullare di Dio (Francis, God’s Jester), to give it its full title in Italian—is a delicate, fascinating hybrid, a film that is self-consciously, almost militantly, naive, and, as such, something of an anomaly in Rossellini’s body of work. Never again would his films attain the directness, simplicity, even purity that is so gloriously on display here, a work poised between the theological and the historical, between the Rossellini who emerged from neorealism into the full-blown spiritual crisis manifested in The Miracle, Stromboli, and Europa ’51, all set in postwar Italy, and the latter-day director whose abiding interest was in the depiction of history. Those later works often took religious subjects, but unlike in Acts of the Apostles, Augustine of Hippo, and The Messiah, Rossellini in The Flowers of St. Francis is less concerned with creating a portrait of a particular historical figure than he is with exploring the nature of spirituality, specifically, of “Franciscanism” itself and its impact on the medieval world. Continue reading
A collage of documentary and chronicle footage from various German and Soviet archives, attempting to reconstruct the experience of the citizens of the Third Reich and to grasp the essence of totalitarian regime. The footage is accompanied by director’s commentary, analyzing the imagery.
Romm’s “Ordinary Fascism” pulls out all the stops in its selection of documentary material to draw the viewer not only into absolute horror about fascism and nazism in the 1920s-1940s Europe, but also to a firmest of convictions that nothing of the sort should be allowed to happen again anywhere in the world. The film was released in 1965, in the Soviet Union’s heyday at the height of the great societal and intellectual “thaw” that followed the Stalin’s death and the denunciation of Stalin’s totalitarianism by Nikita Khruschev. Never explicitly mentioning any of them explicitly, the film targets tyranny and despotism no matter what form they may take. Continue reading
Info from wiki,
Fata Morgana is a film by Werner Herzog, shot in 1969, which captures mirages in the desert. Herzog describes the film as “a documentary shot by extraterrestrials from the Andromeda Nebula, and left behind.” The only spoken words consist of a recitation of the Mayan creation myth (the Popul Vuh) by Lotte Eisner, and text written and recited by Herzog himself.
The critic David Thomson describes Fata Morgana as “extraordinary”: “[The] desert is a model for mankind. The film is in three sections: the first showing an unpeopled, beautiful wasteland; the second introducing signs of human wreckage; and the third showing wretched vestiges of life. Totally imaginative, it is a legend of life at extremes that exposes the fatuity of 2001: A Space Odyssey. Whereas Stanley Kubrick glibly assumes some all-powerful, riddle-making consciousness behind the universe, Herzog’s creator is as fallible, quirky and uncertain as man himself.” Continue reading