6352
|
|
|
Impressionistic surrealism in three acts. The approach is literary experimental with optical effects. There are three mental states that are interesting: more
Impressionistic surrealism in three acts. The approach is literary experimental with optical effects. There are three mental states that are interesting: amnesia, euphoria and ecstasy. Amnesia is not knowing who you are and wanting desperately to know. I call this the White Night. Euphoria is not knowing who you are and not caring. This is the Dream of Meditation. Ecstasy is knowing exactly who you are and still not caring. I call this the Memory of the Future. This is an autobiographical film funded by the American Film Institute. close
|
|
|
|
15530
|
|
|
It's been seven years since the plane crashed. Why are Bonnie and Lloyd still searching for their parents amongst the wreckage?
|
|
|
|
6928
|
|
|
A pair of astronauts is trapped on an orbital space station due to unexpected nuclear war on Earth. They lost contact with Earth, and all attempts to more
A pair of astronauts is trapped on an orbital space station due to unexpected nuclear war on Earth. They lost contact with Earth, and all attempts to communicate with their base or anybody else have failed. close
|
|
|
|
|
8873
|
|
|
9601
|
|
|
8567
|
|
|
17971
|
|
|
6852
|
|
|
paris was made as a music video for the Norwegian rock trio MoE, whose raw style is between metal and noise. "I like the anger," is roared into the microphone more
paris was made as a music video for the Norwegian rock trio MoE, whose raw style is between metal and noise. "I like the anger," is roared into the microphone programmatically by the charismatic bassist and singer Guro Skumsnes Moe, who also writes the lyrics. In addition to the highly charged front woman´s raw voice, nothing more than an electric bass, guitar and drums are required to express pure anger and desperation. Roisz translates each instrument and Moe´s voice into its own visual level, and the end results are then layered visually. close
|
|
|
|
9762
|
|
|
A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was.
A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was. close
|
|
|
|
13885
|
|
|
The first of two devotional songs. Part One of a set of Two Devotional Songs. “The Visitation” is a gradual unfolding, an arrival so to speak. I felt more
The first of two devotional songs. Part One of a set of Two Devotional Songs. “The Visitation” is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts. close
|
|
|
|
12988
|
|
|
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, more
Triste is an indication of the level of cinema language that I have been working towards. By delicately shifting the weight and solidity of the images, and bringing together subject matter not ordinarily associated, a deeper sense of impermanence and mystery can open. The images are as much pure-energy objects as representation of verbal understanding and the screen itself is transformed into a “speaking” character. The “sadness” referred to in the title is more the struggle of the film itself to become a film as such, rather than some pervasive mood. N. D. close
|
|
|
|
|
12000
|
|
|
15898
|
|
|
American avant-garde master Ernie Gehr’s stunning Waterfront Follies (USA) is a work of extended sublime that presents a view of the Brooklyn harbour more
American avant-garde master Ernie Gehr’s stunning Waterfront Follies (USA) is a work of extended sublime that presents a view of the Brooklyn harbour as it is continuously interrupted by the flow of human interaction. The film’s structure and soundtrack work as a reminder of the constant intersections between life’s impulsiveness and beauty. - Peter Knegt close
|
|
|
|
7467
|
|
|
A history of scarred surfaces, an inquiry, and an imagining: for the marks we see and the marks we make, for the languages we can read and for those we more
A history of scarred surfaces, an inquiry, and an imagining: for the marks we see and the marks we make, for the languages we can read and for those we are trying to learn. Reproduced by hand on an old contact printer resulting in individual, unique release prints. close
|
|
|
|
6639
|
|
|
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither more
This work is a demonstration of one of Jacobs' Nervous Magic Lantern performances, which are created with a hand-manipulated projector and use neither film nor video. Highly stroboscopic and hallucinatory, these kinetic performances result in otherworldly spaces and plays of near-abstraction and suggestive imagery. Mountaineer Spinning features an evocative musical score. This work highlights Jacobs' relentless experimentation with the very fabric of projected light. close
|
|
|
|
5400
|
|
|
This poignant documentary profiles a young black woman's struggle to confront the legacy of a physically abusive father and her headlong flight into drug more
This poignant documentary profiles a young black woman's struggle to confront the legacy of a physically abusive father and her headlong flight into drug abuse. Suzanne, after years of physical and psychological abuse, is compelled to understand her father's violence and her mother's passive complicity, who suffered at her husband's hands as well, as the keys to her own self-destruction. After years of silence, Suzanne and her mother are finally able to share their painful experiences with each other in an intensely moving moment of truth. close
|
|
|
|
|
3854
|
|
|
14420
|
|
|
A 65-year-old cleaning woman for a professional dancers' exercise studio performs her job while telling us in voiceover about her life, hopes, goals, more
A 65-year-old cleaning woman for a professional dancers' exercise studio performs her job while telling us in voiceover about her life, hopes, goals, and feelings. A challenge to mainstream media's ongoing stereotypes of women of color who earn their living as domestic workers, this seemingly simple documentary achieves a quiet revolution: the expressive portrait of a fully realized individual. close
|
|
|
|
14425
|
|
|
After giving birth, Joyce attempts to regain her position as a filmmaker while also caring for her new baby. The changes to both her and her husband’s more
After giving birth, Joyce attempts to regain her position as a filmmaker while also caring for her new baby. The changes to both her and her husband’s professional lives are remarkable and frustrating. The new parents love the baby but must recognize the limitations she puts on their careers. close
|
|
|
|
3723
|
|
|
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work more
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work of several parts. Part one constructs an auditorium in which an action will be staged. Part two assembles the chorus to narrate the action. Part three supplies the action. close
|
|
|
|
5422
|
|
|
Directed by Ken Jacobs, 1985. In Jacobs' own words: "I wish more stuff was available in its raw state, as primary source material for anyone to consider, more
Directed by Ken Jacobs, 1985. In Jacobs' own words: "I wish more stuff was available in its raw state, as primary source material for anyone to consider, and to leave for others in just that way, the evidence uncontaminated by compulsive proprietary misapplied artistry, "editing", the purposeful "pointing things out" that cuts a road straight and narrow through the cine-jungle; we barrel through thinking we’re going somewhere and miss it all. Better to just be pointed to the territory, to put in time exploring, roughing it, on our own. For the straight scoop we need the whole scoop, or no less than the clues entire and without rearrangement. O, for a Museum of Found Footage, or cable channel, library, a shit-museum of telling discards accessible to all talented viewers/auditors. A wilderness haven salvaged from Entertainment." close
|
|
|
|
12425
|
|
|
23423
|
|
|
This black and white student film stars Ray Manzarek's girlfriend (and future wife of 40+ years) Dorothy Fujikawa along with fellow film student Hank more
This black and white student film stars Ray Manzarek's girlfriend (and future wife of 40+ years) Dorothy Fujikawa along with fellow film student Hank Olguin. The film is a series of scenes that show Dorothy and Hank in different life situations, while the narration is a conversation between Hank and Dorothy discussing different topics. The central theme is the life of a jazz musician and his girlfriend. close
|
|
|
|