IMDB user review
31 July 2007 | by (peacecreep) (United States)
Shot on 16mm in rural Utah in the early 90′s, Sure Fire is obscure American cinema at its finest. Josts style is very unique, containing many long scenes of dialogue, and beautiful photography of landscapes. This film contains some of the longest, most engaging monologues I’ve ever seen or heard, courtesy of the lead actor, Tom Blair. Blair is an amazingly strange actor that really gets into his roles. All I can really say is watch him work, it is fascinating.
The story was developed in accordance with the people Jost met in Utah and what was going on in their lives and the area at the time. The story concerns Tom Blair’s character, Wes, wanting to sell real estate to people moving to his town from California. It goes on to explore his relationship with the people close to him.
At times, the film feels like a weirder version of Twin Peaks, and that’s a very good thing. But it is no doubt a singular vision by a truly underground filmmaker. It is hard to find, but worth the hunt. -James Sinclair 7/07 Continue reading
« I was thinking about light and its relation to water and to life, and also its opposite – darkness or the night and death. I thought about how we have built entire cities of artificial light as refuge from the dark. »
Video treats light like water – it becomes a fluid on the video tube.
Water supports the fish like light supports man. Land is the death of the fish. Darkness is the death of man. »
Bill Viola, 1981
Hatsu-Yume (First Dream) is Bill Viola’s masterpiece, the greatest work by one of the most important video artists in the world. A spiritual allegory equating light and dark with life and death. Hatsu-Yume was produced in Japan in 1981 while Viola was artist-in-residence at the Sony Corporation. The title refers to Japanese folklore, wherein things done on the first day of a new year are significant. But the tape is not to be taken literally as a dream. For Viola, it’s more like the aboriginal concept of dreamtime, the creation of the world. That’s why, as a whole and in its parts, Hatsu-Yume progresses from darkness to light, stillness to motion, silence to sound, simplicity to complexity, nature to civilization. There are two interwoven themes: the dark water world of fish, and Buddhist rituals invoking the souls of dead ancestors. As in a dream, we frequently can’t tell if these wordless streams of image and sound are unfolding in real time, slow-motion or time-lapse. A work of extravagant pictorial beauty, Hatsu-Yume represents the most painterly use of light in the history of video. Form is content: the light that lures fish to their death protects human life. At once ominous, majestic, mystical and deeply spiritual, Hatsu-Yume is the work of a visionary poet of image and sound. Continue reading
Nhum is a construction foreman working in Bangkok. The political instability in Thailand has made its presence felt in all business sectors. Nhum suddenly finds himself out of jobs. He decides to head back to the northeast to attend a wedding during the Thai New Year in April — the hottest month of the year.
At the wedding in Khon Kaen, Nhum runs into Joy, a senior from his high school whom he used to have a crush on. They exchange their phone numbers.
Suddenly, we see an interview with the director’s family members, and we learn that the film itself is a semi-autobiography of the director’s life. The character of Nhum is as much a construct as it is real. From this point on, the film becomes the voyage of a young man into the labyrinths of the real and the imagined, the documentary and the fiction, the past and the present – and not only of his self but also of the Thai society writ large. Continue reading
Midnight Eye wrote:
A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society. Continue reading
Siegfried A. Fruhauf
Born:1976 in not specified
Foto: Siegfried Wöber
Born in Grieskirchen (Upper Austria) in 1976 and grown up in the small village of Heiligenberg (Upper Austria). 1991 – 1994 Training as commercial manager.
Studied experimental visual design at the University of Artistic and Industrial Design in Linz where he first came into contact with the Austrian Film Avantgarde. From 1995 to 2010 he lived and worked in Linz and Heiligenberg. 2002 Supporting Award for Filmart by the Austrian Federal Chancellery.
Since 2001 organization of film and art events. Since 2009 lecturere at the University of Artistic and Industrial Design, Linz. Numerous works and shows in the area of film, video and fotography. Participation in various important international film festivals (Festival de Cannes – Semaine Internationale de la Critique, Intenational Filmfestival of Venice – Section Nuovi Territori, Sundance Film Festival Park City, …). Member of sixpackfilm.
Has a son (Jonas Theodor) with the Austrian journalist Anna Katharina Laggner. Lives and works in Vienna and Heiligenberg since 2010. Continue reading
Topics from social awkwardness to forced nutrition are among the subjects discussed by a man and the various acquaintances that drop by to sit on his couch during a vacation in “Routine Holiday,” a film so utterly devoid of pleasure or meaning it defies comparison. Pointless extended silences and uncomfortable spatial dynamics define this affected drama far more than insightful commentary does.
“Routine Holiday” is a nearly perfect festival movie. Wide release is not an option for a film that that takes the “motion” out of “motion pictures,” and only increased post-Olympic China fever will stoke any interest in even art house release overseas. Distribution in Asia, where Hollywood is king, is also a long shot.
A national holiday is the impetus for Li Hongqi’s (NETPAC winner “So Much Rice”) plodding meditation on China’s socio-political ills. The locus for a series of wooden conversations is Tuo Ga’s (Yang Bo) home, where a parade of friends and relatives drop by on their day off to say … absolutely nothing. The most excitement comes from the Lovelorn Man (Xiao He), who would really like to have an affair — and goes so far as to tell his wife so. The dour space inhabited by a man, his son, two brothers, and a committed couple is suitably bleak, and echoes the characters’ bleak worldviews. Continue reading
Considered to be one of Viola’s most important and accessible works, The Passing was made as a personal response to the spiritual extremes of birth and death in the family and speaks eloquently to human experience at its most profound. Black-and-white nocturnal imagery and underwater scenes depict a twilight world hovering on the borders of human perception and consciousness.