Film by Fred L’Epee
In collaboration with Kenneth Gentry and Ed Alvarado.
“The theme of bipolarity is seen through various means: the natural and the man-made; production and destruction; energy and adynamia; peace and apocalypse; equilibrium and disequilibrium — from the beginning to the end. This emerging view of a complex “bipolar climate machinery” urgently calls for a major research effort in order to decipher and quantify the interplay of atmospheric and social processes. When the world is in no accordance with all the cyclic combinations, a more or less bipolar world cannot be inevitable” Continue reading
“The White Widow” is a psychotropic visual arts film representing the themes of mythology, mysticism, and the existential struggle. The realm is that of the subconscious, the alterations of perception, in the other-worldly than the worldly. Once upon a time the white widow at the edge of a path. Continue reading
In British director Don Levy’s Herostratus, a young poet, Max (Michael Gothard, The Devils), decides to commit suicide in public as a form of protest. He hires a prestigious marketing company to capture the event and promote it to the masses. As preparations begin, however, Max realizes that his plan might be flawed – he doubts that the company would cover the event as he wishes. With only a few days left, the young rebel is faced with an impossible dilemma – finish what he has started, or abandon his plan and run away.
Herostratus reminded me about two very powerful films: Marco Bellocchio’s Fists in the Pocket (1965) and Bernardo Bertolucci’s Partner (1968). In the former, a young epileptic (Lou Castel), frustrated with the world around him, goes on a family killing spree. In the latter – a film loosely based on Fyodor Dostoevsky’s work The Double – a passionate revolutionary’s (Pier Clementi) plan to commit suicide issuddenly thrown into turmoil when a mysterious double appears. Continue reading
Two teenage girls, both named Marie, decide that since the world is spoiled they will be spoiled as well; accordingly they embark on a series of destructive pranks in which they consume and destroy the world about them. This freewheeling, madcap feminist farce was immediately banned by the government. Continue reading
Richard Martini’s “Camera” is an ambitious – yet, addictive independent film encompassing intrigue, comedy and adventure. An inside look into the lives of several people – via the one digital camera they all buy – it’s a compulsively magnetic piece that shows flair and creativity on behalf of the helmer. It’s got no budget and it’s got no buzz – but “Camera” is a rare delight, and especially interesting to see Martini can draw in some fine cameos by people like Jack Nicholson, Oliver Stone, and Angie Everhart.
Bravo Martini – we look forward to your next project. Continue reading
Notable film theorist Gene Youngblood has this to say about the “Cosmic Cinema” of Jordan Belson in his classic book “Expanded Cinema”:
“Certain phenomena manage to touch a realm of our consciousness so seldom reached that when it is awakened we are shocked and profoundly moved. It’s an experience of self-realization as much as an encounter with the external world. The cosmic films of Jordan Belson possess this rare and enigmatic power. Continue reading
Working completely outside the mainstream, Stan Brakhage has made nearly 400 films over the past half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” Brakhage has turned his camera on explicit lovemaking, childbirth, even actual autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all. Instead, Brakhage has pioneered the art of making images directly on film itself––starting with clear leader or exposed film, then drawing, painting, and scratching it by hand. Treating each frame as a miniature canvas, Brakhage can produce only a quarter- to a half-second of film a day, but his visionary style of image-making has changed everything from cartoons and television commercials to MTV music videos and the work of such mainstream moviemakers as Martin Scorsese, David Fincher, and Oliver Stone. Continue reading