Aber den Sinn des Lebens hab’ ich immer noch nicht rausgefunden / … but I Still Haven’t Figured Out the Meaning of Life (OmeU)
Every year on his birthday, Jan Peters filmed one reel of Super-8 material; later on he turned to video. In these few minutes of film he reveals something from and about himself. Maybe it is exhibitionism – the way he chatters on, until the blotches on the film indicate the end of the reel. Enthusiastic, sometimes tired, often doubtful, he, like everyone else, quarrels with what has come about from his own actions. On top of this, Peters, the filmmaker, blurs the individual of the same name with his dense texts and images to create something quite different: Jan Peters, the fictional character. Continue reading
Amos Vogel said about Cosmic Ray in Film as a Transgressive Art :
Eight images per second flash by at the brink of retinal
perception in this extraordinary pop art collage of a nude
dancing girl surrounded by Academy leaders, war footage,
Mickey Mouse, and the raising of the American flag at Iwo Jima.
An attempt at a total audio-visual experience, this hypnotic
four-minute film contains two thousand different images. Continue reading
A little girl is taken on a mind-bending tour of her distant future. Continue reading
Anna is not so very young any more, but still a voluptuous woman and full of desire. Unlike her husband, who prefers to watch television instead of making love to his wife. Diets and aerobics fail to revive his sexual interest, and Anna turns to a fortune-teller for help. Unfortunately, the love potions also have dissatisfying side-effects and surprising results. Finally, a proper solution is found in some magic sweets: each sweet will make Anna seven years younger. Which might be rather tricky for a compulsive eater … Continue reading
Manoel de Oliveira’s last (short) film.
In a city of the 21st century, Don Quichotte meets with the Portuguese poets Luis de Camoes, Teixeira de Pascoaes and Camilo Castelo Branco. Together they reflect about the art of writing, history, and the general vanity of human aspiration. Oliveira illustrates this with excerpts from some of his own films as well as Kozintsev’s 1957 “Don Quixote”. A beautiful, meditative film, and a fine conclusion to Oliveira’s career. Continue reading
CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC’O WATSON HUFF
From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION
From the little theaters of the 1920s to the ad hoc film societies of the ’50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc’O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino’s third volume of experimental films continues to illuminate the degree to which cinema’s evolution has been influenced by those filmmakers who occupy its periphery. Continue reading
Young people living in villages throughout Vojvodina, in their spare time: bars, dances, vine cellars.
Outburst of life energy, and on the other hand, emptiness of life.
This was Zilnik’s professional debut: it introduced his style of ‘’film provocation’’, ‘’wild realism’’, ‘’documentary fiction’’ and ‘’arranged document’’, later to become stylistic feature of all Zilnik’s films. Continue reading