Experimental

Schizophrenic tramp performs outrageous acts in the streets of Salvador, and in the end tries to fulfill his ultimate dream: to fly over the city, as a superhero would.Read More »

Synopsis:
An ultra-realistic, multiplayer FPS game follows a group of mercenaries using baby faces as avatars. Tasked with entering mansions of the rich and powerful, players must explore every rabbit hole before time runs out.Read More »

Quote:
A smattering of repeated performances culled from old porno films and hand painted. A man bends over a body, but what we really notice is the texture of the wall behind him. A woman stares back at the viewer with annoyance. On the soundtrack Anais Nin declares: “but while I’m doing this I feel I’m not living.”Read More »

This video highlights several narratives concerning video surveillance—not to reiterate the conventional privacy argument but rather to engage the desire to watch surveillance materials and society’s insatiable voyeurism. A variety of subjects recount their interactions with surveillance—getting caught in the act of stealing or watching pornography, being discouraged from making an illegal ATM withdrawal—and question technological determinism, asking whether we choose to develop technology or technology shapes our choices.Read More »

A dramatic feature shot on location in Rome. Centered around the adventures and illusions of three girls living abroad, the film explores their restlessness and personal involvements in assuming the role of woman as hunter.Read More »

A stasis work invoking the memory of the lynching of Mary Turner, a young, pregnant African American woman in South Georgia in 1918.

Publicly demanding justice following the murder of her husband, Turner was kidnapped by a mob, hung up in a tree, set on fire, her child cut out and killed, and shot hundreds of times before being buried on site in South Georgia.Read More »

Quote:
Is it a nightmare or an actual view of a post-apocalyptic world? Set in an industrial town in which giant machines are constantly working, spewing smoke, and making noise that is inescapable, Henry Spencer lives in a building that, like all the others, appears to be abandoned. The lights flicker on and off, he has bowls of water in his dresser drawers, and for his only diversion he watches and listens to the Lady in the Radiator sing about finding happiness in heaven. Henry has a girlfriend, Mary X, who has frequent spastic fits. Mary gives birth to Henry’s child, a frightening looking mutant, which leads to the injection of all sorts of sexual imagery into the depressive and chaotic mix.Read More »

In the autobiographical traditional of earlier SINCERITIES, this film takes up the light-threads of our living 14 years ago when the Brakhage family found Home and ‘settled’, like they say, into some sense of permanence. This quality of living in one place tends to destroy most senses of chronology; thus, along lines-of-thought of growing and shifting physicality, events CAN seem to be occurring simultaneously (a thought-process ‘kin to that of THE DOMAIN OF THE MOMENT), and the memory of such a time IS prompted and sustained by details of living usually overlooked or taken-for-granted (such as Proust’s cookie which prompted ‘The Remembrance of Things Past’). Michael McClure’s ‘Fleas’ and Andrew Noren’s THE EXQUISITE CORPSE III were additional sources of inspiration for the making of this work.Read More »

Made with assistance from the National Endowment for the Arts. This continuation of my autobiography is composed of film photographed by many people: Bruce Baillie, Jane Brakhage, Larry Jordan, and Stan Phillips, among others. Most of the footage is drawn from some 2,000 feet of ‘home movies,’ ‘out takes,’ and the like, salvaged from my photography over the years. It is of the Brakhage family’s coming into being. It is composed in the light of those electrical traces we call ‘memory’; and it is as true to that ‘thought process’ as I was enabled to make it.Read More »