Peter Gidal’s structuralist short CODA I is composed of three lines of a thousand-word story he wrote (as read by William Bouroughs in a cutup tape collage) amidst an ultra-abstract play-of-light through a camera. Gidal describes his “socalled” imagery as “a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible.” – Stela Jelincic Continue reading
Strange Beasts” is an augmented reality game. It allows you to create and grow your own virtual pet. Continue reading
The film is part of the television series “La culture en chantiers” (“Culture under Construction”). In the form of a video letter, this film goes up the Seine. Starting with the traces of the Normandy landing of the Americans, it ends in Paris in Jean Genet’s hotel room. It is a voyage made to meditate on the “state of things” in a clear and melancholy way—the mutations in cinema and the media in the year of the Gulf War, in the company of Serge Daney and others. Continue reading
A religious zealot mother kills herself to try and find her dead son and escape with him from Hell. Music by Jim Becker and filmmaker Brent Green. Continue reading
A giant alien creature comes to Earth. The reasons for its arrival, however, remain unknown as mankind fails to make contact with the visitor.
The Narrow World follows a group of scientists as they try to unravel the enigma of the alien’s purpose. That setup may have the sound of a schlocky ‘alien invasion’ film – the sort where evil E.T.s are out to destroy Earth and an all out battle for the future of humanity must ensue – but surfaces can be deceiving. Bonacorso subverts the film’s familiar setup by positing his invader as a passive observer. His alien doesn’t attack Earth. Nor does it communicate in any way, shape or form. In fact, it doesn’t do much of anything but walk and watch. Continue reading
Longtime experimentalist Walter Ungerer extrudes a snow-covered forest obscured by icicles through time-lapse and polychromatic effects into a more synesthetic experience. – Tom Fritsche Continue reading
San Francisco based filmmaker Lawrence Jordan’s 1954 short follows his hand, gesturing through a house of mirrors, cards and paintings of women. Shot in black-and-white and playfully incorporating direct animation, enhancing the photographed image by scratching and etching directly on the film. A woman reads Philip Lamantia’s poem (from which the film gets its title), a choice, which evokes masculine angst as the hand acts out the scenario of the poem. – Stela Jelincic Continue reading