It is not yet on IMDb.
Not much info about this movie on the web, but this is a good summary:
Created at irregular intervals, Pierre Léon’s small oeuvre oscillates between experimental home movie and theatrical mise-en-scène, found footage and documentary assemblages. PHANTOM POWER is a kind of sum of these rich and lavish efforts, a poetic series of cinematic fragments, an inventory of his cinematic output. What unfolds between russian folk songs and Ingrid Caven’s singing, between micro-dramas and found footage, is the poetic world of this wayward and still unknown artist, whose discovery and recognition is long overdue. (www.viennale.at) Continue reading
Polytechnique is an audio-visual collaboration between Italian ambient/drone musician, Easychord and UK filmmaker, Scott Barley.
The film is best viewed in a dark room with a quality sound system or headphones.
Guided by Easychord’s haunting, bodily piece, the visuals attempt to explore and invoke the concepts of prisoner’s cinema, stream of consciousness, repetition, the primordial body, fundamental entities, and astral planes. Continue reading
Fit, Athina’s first short film was a finalist for the Student Academy AwardsTM.
In this short film she explores a new kind of visual and corporeal language, deploying off-beat mise-en-scene, startling gestures and outlandish humor to vividly render the protagonist character’s struggle against her appointed familial, societal and professional role. Continue reading
One of several triptychs showing in this year’s Wavelengths program, Peter Hutton’s Three Landscapes zeroes in on the industrial terrain ringing Detroit (where he grew up), the bucolic pastures of the Hudson River Valley (where he now lives), and Ethiopian salt flats (where he travelled under Robert Gardner’s sponsorship). The most obvious link between the three is labour, but the film functions less as a thesis statement than a poetic meditation, a haiku-like attempt to distill the landscape using a few sparing, echoing graphic forms. The Detroit sequence is the most immediately arresting, its subdued colour palette and precise graphic calculations of grass, clouds, sky, smoke, and industrial architecture leading to a dramatic chain of images of two men inching across a high ladder—a vision of meditative calm in struggle. Workers and clouds are combined to more expressly lyrical effect in a superimposition punctuating the Hudson River Valley sequence, a marvelous bit of photochemical guesswork (albeit one now rendered in DCP projection). If the Ethiopia sequence seems comparatively uncertain about itself, its final long take of a line of camels stilled by distance and heat closes the film with an eloquent appeal to the necessity of limits. After the screening Hutton remarked that he takes special pleasure in those landscapes in which you see clouds moving faster than the workers, a point of view that goes a long way towards restoring the link between the documentary and spiritual connotations of this word “observe.” Continue reading
‘It for Others’, 2013, (16mm film transferred to digital video, 54 minutes)
Duncan Campbell produces films that look at representations of the people and events at the heart of very particular histories – figures such as John Delorean and Bernadette Devlin. Combining archive material with his own footage, his work questions the authority, integrity and intentions of the information presented. For Scotland + Venice 2013, Campbell has taken Chris Marker and Alain Resnais’ 1953 film ‘Les Statues meurent aussi’ (Statues also Die) as both source and artefact, to pursue a meditation on the life, death and value of objects. In the exhibition, Campbell presents the older film alongside his new work, a social and historical examination of cultural imperialism and commodity that combines filmed footage, animation and archive footage. ‘It for others’ includes a performance made in collaboration with Michael Clark Company that seeks to illustrate the basic principle of commodities and their exchange. Continue reading
“Peter Hutton is a still photographer that puts pictures into motion or it might be more apt to say that Peter Hutton is a motion picture maker that makes them still. His films are images, presented like slides, no inherent story, no specific connection other than local proximity. His camera remains locked down, his gaze intensely fixated on a particular setting as he allows time to unwind before the lens. The moments he captures are ones of small change, but profound beauty. Continue reading
Jean-Luc Godard’s densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the attempts by a young group of idealists to stage a play in war-torn Sarajevo and an elderly director’s efforts to complete his film. Continue reading