Stephen Dwoskin

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Oblivion is of a man’s elderly paralytic literally unspeakable monologue of pain and fury as he finds himself caught in the isolation of dependency and sexual loss. His mind attempts to regain a certain equilibrium of desire as the women who he once loved surround his shrinking and shrieking mind with tantalising distain and pornographic voyeurism. They are both real and imaginary and appear, disappear, and suddenly come back to torment his memory. He is motionless and powerless to control even his fantasies, and in the confused, claustrophobic space the inner world of love and hate, death and life, loneliness and togetherness, and sex, all ambiguously collide as if they were torn out of time. His life becomes represented, not as remembrance, but of the traces and signs of an absence. Suggested by the book “Le Con D’Irène” by Louis Aragon.Read More »

PLOT: The action of the film evolves around the rooms of a house as one of the main characters, Lisiska, is waiting and is studied in depth as she prepares herself for a meeting & The film attempts to display sexual barriers and misconceptions, and about the role-playing and the confusion around the whole question of sexual and sensual involvement. The essence is the confrontation with self-deception, lies and the real fear of contact with both sexes.’
Based on the German playwright Frank Wedekind’s play Tod Und TeufelRead More »

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Four characters go through a series of deeply emotional, psychedelic, sensual, and sexual encounters, evoking the times and textures of the 1960s underground.Read More »

Lost dreams is made out of those little remnants of images,from a single glance to a detailed moment, of those women from youth’s love and young dreams. They are woven together, like fragments of the mind, and from the ends of film to the corners of the frame, into a memory of them. They are once again embraced and, if only briefly, poetically honoured.Read More »

Intoxicated by My Illness (in which images photographed by several people are extensively superimposed) loosely and dreamily tracks a phase in Dwoskin’s recent life that took him from medical examination to intensive care.

Mostly it is a reverie about erotic fantasy – especially the excruciating, poignant ambiguity of bodily sensation strung out between intense pain and exquisite pleasure, between the figures of the nurse, who might be imagined as a bondage mistress, and the bondage mistress, who touches the ‘dominated’ body in the most tender way imaginable. Dwoskin periodically overlays known ‘movie music’ in order to ironically foreground his own ‘self dramatisation’, all the while drawing us into a rare and precious intimacy in extremis.Read More »

It is quite revealing how complex the simple form is. Shot one to one, a girl is confronted with nothing more than her thoughts. In the period of watching her (while she is looking at you) her expressions and movements turn into a ‘mirror’ for the viewer to experience his or herself. The experience is solely emotive between you and her, and occurs in “real” time. (Stephen Dwoskin)Read More »

A girl is attempting to seduce the beholder : the camera. A visual conveyance through material – film and paint – as the seduction progresses she becomes more covered in paint – representative of the beholder.Read More »

“My grandfather was a charming artist and he would have acted if he had had an audience. In this film, taken from family images, it is a simple pear that is the object of his panache.”Read More »

`Suddenly and sadly my dear friend Frances died. At that moment of loss I needed to hold on to her. The film is just that.’Read More »