Experimental

from link —

Amer moves relentlessly and dissonantly, and practically sans dialogue. In a gorgeous Italian manse, curiosity threatens to get the better of young Ana, tormented by the unknowable and what it reveals—or doesn’t, as is the case much of the time here. Running from the clutches of the strange woman who catches her hovering over the body of the dead man who appears to be the girl’s grandfather, she runs upstairs to her parents only to find them fucking. The camera shows them every way but upside down, bathed in green, then red, then blue—a show of grossly horned-up excitement meant to be absorbed like a blunt-force trauma. And once Ana has dutifully internalized their freakish sexcapade (her wide eyes tell no lies), it’s back to avoiding the perpetually leering gaze—and sinister clawing—of the woman who lives in the room adjacent to her sparely furnished own. Will the pocket watch she pulls from her grandfather’s brittle clutches save her or will her veiled tormentress simply use it as a means of dragging her to hell?Read More »

Chicago Reader wrote:
Chantal Akerman’s haunting 1993 masterpiece documents without commentary or dialogue her several-months-long trip from east Germany to Moscow–a tough and formally rigorous inventory of what the former Soviet bloc looks and feels like today. Akerman’s painterly penchant for finding Edward Hopper wherever she goes has never been more obvious; this travelogue seemingly offers vistas any alert tourist could find yet delivers a series of images and sounds that are impossible to shake later: the countless tracking shots, the sense of people forever waiting, the rare occurrence of a plaintive offscreen violin over an otherwise densely ambient sound track, static glimpses of roadside sites and domestic interiors, the periphery of an outdoor rock concert, a heavy Moscow snowfall, a crowded terminal where weary people and baggage are huddled together like so many dropped handkerchiefs. The only other film I know that imparts such a vivid sense of being somewhere is the Egyptian section of Straub-Huillet’s Too Early, Too Late. Everyone goes to movies in search of events, but the extraordinary events in Akerman’s sorrowful, intractable film are the shots themselves–the everyday recorded by a powerful artist with an acute eye and ear.Read More »

Quote:
2003. USA. Directed by Andrew Noren. “Energy pictures; mindful kinesis. Light and shadow vigorously conjoin, conjuring delusion of depth and duration, fiction of space and time. The fool’s paradise of the illusory window … (remember: flutter of phantoms, trick of the light) … is savored and shattered and seen for what it is” (Andrew Noren). Silent. 62 min.Read More »

Quote:
I can’t stress enough how wonderful, anarchic and unique is this early Israeli film. It blends lots of genres and pokes
fun at many sacred cows while dealing with connections between cinema, reality and its ideological representations.
There simply isn’t any other film like that, and it’s the first time it’s on the net, with subs.
Not much information in English, so I edited an article I’ve found, but it dosen’t do the movie justice:
A comic and episodic satire, the film uses improvization to ilustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray film as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics- parallel to the miracle of Israel, the dream that has become reality (?). Although not a commercial success, there’s no equal to it in all of the Israeli films made since then.Read More »

A boy’s sleep disturbed by the weaking, and the sound of reality. Found-footage montage with the chemical reactions of the celluloid on rare erotic s8 reels.

23. Festival Premiers Plans d’Angers – free forms section (2011)
MADATAC Video Art Festival, Madrid; 2011
8. International Super8 festival – Szeged: Best hungarian film; Audience award; 2009
41. Hungarian Film week: Award of the most promising young talent; 2010
The Canton Palace Theatre First Annual International Film Festival – Ohio ; 2010
Kalgart underground evening, Istambul; 2010
An evening with Cinema 16,- The Kitchen, New York (2011)
San Francisco – MisALT series – 2011Read More »

“Screening Room was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard’s Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include Dead Birds (1964), and Forest of Bliss (1986).

A major figure in the American experimental film movement of the 1960s and ‘70s and a widely published theorist, Hollis Frampton made such acclaimed and influential films as Zorns Lemma, the Hapax Legomena series, and the unfinished Magellan. Retrospectives of his work have been shown at the Walker Art Center, the Museum of Modern Art, and elsewhere.The journal October twice devoted whole issues to Frampton, and the entire body of his work is preserved in the Royal Film Archive of Belgium. Frampton taught at Cooper Union, Hunter College, and the State University of New York at Buffalo. In January 1977, Hollis Frampton appeared on Screening Room to discuss his work and screen Lemon, Pas De Trois, excerpts from Maxwell’s Demon, Surface Tension and Critical Mass, and footage from what ultimately became Magellan.” – DER websiteRead More »

The Orinoko: main character in the film. The first part is set during the pre-conquest and is represented as an earthly paradise. A shaman has precognitive visions: go to Columbus and the Catholic missionary in 1498.Read More »

Contents:
Main content:
The shorts:
Double Exposure 7minutes 03 seconds
Hot Pants 5 minutes 46 seconds
The Second Coming 13 minutes 34 seconds
Daydreams from a Crosstown bus 14 minutes 11 seconds
Mumbo Jumbo 13 minutes 51 seconds
Green Thoughts 9 minuts 15 seconds
Underground, (my favourite) 10 minutes 46 seconds and
Prometheus 21 minutes 21 seconds

Extras: Complete and untouched:
– Fragments: The Incomplete Films of Peter de Rome (Ethan Reid, 2012, 43 minutes): revealing new documentary in which Peter de Rome discusses his many incomplete and unfinished films.
– Scopo (Peter de Rome, 1966, 6 minutes): when a young man arrives at an empty apartment, he is unaware that a stranger is watching him.
– The Fire Island Kids (Peter de Rome, 1970, 12 minutes): two men spend a lazy day in each other’s company after one rescues the other from drowning
– Moulage (Peter de Rome, 1971, 13 minutes): humour and art collide in this study of erotic body casting.
– Brown Study (Peter de Rome, 1979, 9 minutes): an ethnographic study with a difference.
– Abracadaver! (Nathan Schiff, 2008, 10 minutes): a gruesome tale of magic and mutilation from producer David McGillivary, starring Peter de Rome.Read More »

This Andy Warhol art film was first released in 1966. It is his chronicle of the Velvet Underground jamming while blonde German model Nico sits on a stool. Unlike other Warhol art films, the camera becomes an active participant in the film as it zooms in, pans, and moves chaotically around the performers Lou Reed, John Cale and other Undergrounders. The film is not really edited and includes a scene where the police burst in to stop the noise. Warhol himself also appears brieflyRead More »