Alexandre Promio – Enfants pêchant des crevettes (1896)

29f7c043f76a2bde437fd0d52a185152

Catalogue Lumière wrote:
Vue N° 45

“Des enfants traînent leurs filets sur la plage à mer basse : les fillettes, les jupes relevées, rivalisent d’entrain avec les garçons dans cet exercice.”

– Un des personnages porte un panier sur lequel est inscrit “Shrimp” [crevette].- Une vue supplémentaire et non cataloguée représente le même sujet. Continue reading

Manoel de Oliveira – O Pão AKA Bread [Short Version] (1959)

29f7c043f76a2bde437fd0d52a185152

Quote:
Each day, a man must work around the clock to produce and acquire bread: throwing the seeds into earth, helping the breeding of the corn, the corn’s recolt, transport to the mills, manipulation of the flour into actual bread, transport to a variety of locations and consumers. Continue reading

Azadeh Navai – Friday Mosque (2014)

29f7c043f76a2bde437fd0d52a185152

A silent meditation on the Islamic prayer ritual through motion (water is the core, but light is the cause) in FRIDAY MOSQUE. Shot on high-contrast black and white 16mm film, Navai hand processed the negative and painstakingly contact- printed the strips of celluloid. The resulting image quivers and pulses. Enlarged film grain nearly obliterates the already abstracted image. There exists both a tension and serenity in the flickering frame. Every element is preparing for and anticipating the faithful soul that is summoned to the everyday practice. The silent tune of the calling, Azan, has overtaken. Continue reading

Alan Schneider – Film (1965)

29f7c043f76a2bde437fd0d52a185152

Samuel Beckett, the celebrated author of Waiting for Godot, made a single work for projected cinema. It’s in essence a chase film; the craziest ever committed to celluloid. It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies itself. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflexive masterpiece Man With a Movie Camera. Commissioned and produced by Grove Press’s Barney Rosset, FILM is at once the product of a stunningly all-star assembly of talent, and a cinematic conundrum that asks more questions than it answers. Continue reading

Marguerite Duras – L’homme atlantique (1981)

29f7c043f76a2bde437fd0d52a185152

Quote:
“In this avant-garde short, Duras uses outtakes from Agatha et les lectures illimitées, removing Agatha and leaving only the voice and likeness of her brother (Yann Andréa). Duras scholar Leslie Hill contends that for the first time in her work, “the gap between image and sound is now aligned with the fissure of sexual difference itself.”” (filmlinc.org) Continue reading

Patrick Vollrath – Alles wird gut AKA Everything Will Be Okay (2015)

29f7c043f76a2bde437fd0d52a185152

Synopsis:
A divorced father picks up his eight-year-old daughter Lea. It seems pretty much like every second weekend, but after a while Lea can’t help feeling that something isn’t right. So begins a fateful journey.

Review:
Cinema as a mode of fabricated observation can be fascinating because, unless instructed to do so, the camera doesn’t judge. This is the key to entering Patrick Vollrath’s powerful domestic drama Everything Will Be Okay, which chronicles a divorced father’s initially fun day out with his daughter during which life-altering decisions are made. The movie opens with Michael (Simon Schwarz, “About a Girl”) impatiently waiting for young daughter Lea (Julia Pointner) outside her mother and stepfather’s home. He’s itching to go and can’t wait to get her in the car and race her off to the toy store, an innocent start to their time together. Continue reading

Gaspar Noé – Sodomites (1998)

29f7c043f76a2bde437fd0d52a185152

Iconoclastic indie filmmaker Gaspar Noe is as soft-spoken as his films are abrasive. The force behind the short film “Carne” (1991) and “I Stand Alone” (1998) — two visually explosive and delectably warped odes to the ordinary madness of a misunderstood horse butcher — Noe writes, directs, produces, shoots and edits films so distinctive that his films have already developed cult followings.

As part of a French government initiative to promote the use of condoms through graphic depictions of their proper use, Noe made the short “Sodomites” and handled camera duties on Hadzihalilovic’s “Good Boys Use Condoms.” Continue reading