Based on the poem “The Pleasure of Sunday” by László Nagy.Through everyday scenes, with an abundance of close-ups, like a kaleidoscope of undeniable beauty-both plastic and chromatic-it opens up new, experimental pathways of expression.

A kaleidoscopic journey through Budapest over the course of a single Sunday, where ordinary moments—work, family gatherings, public parks, bars, and nightlife—become fragments of a larger portrait of everyday life. Eschewing traditional storytelling, András Jeles transforms the city’s routines into an experimental visual poem.

Director: András Jeles
Writers: László Nagy (poem: “A vasárnap gyönyöre”)
Producer: László Czoller, Éva Mészáros
Cinematography: Sándor Kurucz
Production Company: Academy of Drama and Film in Budapest (SZFE)
Country: Hungary
Language: Hungarian
Runtime: 16mn

Vasárnap, Április 12_(1974)_András Jeles.mkv

General
Container:  	Matroska
Runtime: 	16 min 30 s
Size: 	609 MiB
Video
Codec: 	x264
Resolution: 	720x576 ~> 768x576
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	4 966 kb/s
BPP: 	0.479
Audio
#1:  	Hungarian 2.0ch AC-3 @ 192 kb/s (Stereo)

https://nitro.download/view/D49A43473DECC45/Vasaanap,_Aprilis_12_(1974)_Andras_Jeles.mkv

Language(s):Hungarian
Subtitles:English

The post András Jeles – Vasárnap, április 12 Aka Sunday, April 12 (1974) first appeared on Cinema of the World.

“Michael Smith is a big baby. Well, not all the time. But when he gets into his droopy diapers and lacy bonnet, adds sunglasses and a pacifier, and totters around on his stumpy legs as Baby Ikki, he’s as riveting to watch as any real toddler, albeit larger, hairier and a bit scary. Mr. Smith, the multitalented performer, video maker and multimedia artist, has been doing this character for about 30 years, and it never gets old.

For his latest escapade Baby Ikki went to Burning Man, the weeklong celebration of all things psychedelic that takes place every summer in the Black Rock Desert of Nevada. A film crew followed him as he wandered around the festival in white Crocs, and the resulting footage is the heartbeat of “A Voyage of Growth and Discovery,” a wonderfully entertaining and slyly thought-provoking collaboration between Mr. Smith and Mike Kelley, the Los Angeles artist known for, among other things, sculptures made of old, grubby stuffed animals and children’s blankets.

Occupying the SculptureCenter’s main space, the installation features a half-dozen large flat screens showing various phases of Baby Ikki’s day and night peregrinations, which cumulatively add up to an odyssey. In the gallery is a set of tubular metal structures resembling children’s playground climbing equipment, which includes one shaped like a rocket and a geodesic dome skeleton whose floor is covered with stuffed animals. This emphasizes a view of Burning Man as an essentially juvenile gathering. The boyish optimism of Modernist futurism — as in the inventions of Buckminster Fuller — is evoked by these jungle gymlike sculptures.

Looming over all is a colossal sculpture of Baby Ikki made of welded-together junk metal, which parodies the towering wooden sculpture with the emblematic figure that is climactically set on fire every year at Burning Man.

The videos start with Baby Ikki playing in the motor home that brought him to the event. Evidently preoccupied by fire, he clicks on a cigarette lighter, turns on the gas-fired stove top and consumes candy fireballs while horror-movie scenes of a woman threatened by flames plays on a television.

Outside he ambulates among campers dressed in all kinds of fanciful costumes, gesturing with clumsily splayed fingers at people and objects of interest. Occasionally he belts vehicles — done up like animals for a parade — with the stuffed green creature he carries around in one arm. All the while he maintains an expression of melancholic, slightly quizzical impassivity.

When night comes, he visits some of the elaborate, walk-in environments created by various campers and observes people dancing, twirling flaming batons and otherwise expressing themselves. At one point three minimally dressed women pull him onstage and writhe around him like lap dancers. Finally, all tuckered out, he finds a cushion-covered floor and falls asleep.

Baby Ikki seems to fit right in amid all the zanily attired burners, but he’s not one of them. He’s a kind of mole, a secret agent with his own agenda. Clearly Mr. Smith and Mr. Kelley designed their project not to celebrate but to mock the Burning Man circus. To substitute a giant baby for its wooden avatar is to suggest that the festival is driven by infantilism.

Contrary to the old hippie fantasy that expanding consciousness through unbridled fun, creativity and hedonism — and of course psychotropic drugs — will transform the world for the better, they imply that Burning Man is naïve and disingenuously complicit with capitalist consumerism. It becomes a symbol of what Herbert Marcuse called “repressive desublimation,” which reroutes unruly and rebellious instinctual energies into politically harmless sybaritic indulgence, escapist entertainment and spiritual delusion.

There have been times when anarchic revelry seemed like a good way to resist and overturn socially limiting mores. The antics of the Dadaists in the 1920s and the high jinks of the Merry Pranksters in the ’60s were, perhaps, genuinely liberating. But now that Dionysian catharsis has become the promise of beer commercials and spring-break debauchery, behaving “wildly” is no longer so threatening to the status quo.

This does not make the Smith-Kelley project antipsychedelic. A politics of paranoia that finds everywhere the surreptitious, systematic curbing of individual freedoms and democratic initiative has always been part of the counterculture psyche. Yet this sort of suspicious mind-set can be diverted into less troublesome endeavors like “institutional critique,” the academically certified type of conceptualism that views art museums as agents of consciousness control and puts its faith in the analytic powers of the properly trained intellect.

The Smith-Kelley project is an unusually imaginative and funny instance of “institutional critique,” assuming it is fair to call Burning Man an institution. Admittedly, satirizing the festival and its associated New Age culture is like shooting fish in a barrel. (Borat could have a field day there.) But there are moments in the videos of considerable metaphorical and emotional urgency, as when we see Baby Ikki alone in the distance, almost lost in a dust storm, or when he falls asleep and dreams of women’s breasts.

In the Fellini-like scene with the three dancers, he’s like Odysseus enduring the call of the sirens. It’s less the tendentious didacticism than the comic, mythological vision that makes it compelling.

But the tension between ideological critique and carnivalesque rebellion — a schism that has been running through American radicalism for over a century — is something to think about too. A choice between purity of spirit and exuberance of soul.”

Director: Mike Kelley, Michael Smith
Writers: Mike Kelley, Michael Smith
Cast: Michael Smith
Country: United States
Language: English
Runtime: 1h 26mn

Voyage Of Growth And Discovery (Mike Kelley And Michael Smith 2009).mkv

General
Container:  	Matroska
Runtime: 	1 h 26 min
Size: 	1.25 GiB
Video
Codec: 	x264
Resolution: 	720x480 ~> 720x540
Aspect ratio:  	4:3
Frame rate: 	29.970 fps
Bit rate: 	1 831 kb/s
BPP: 	0.177
Audio
#1:  	2.0ch AC-3 @ 224 kb/s (Stereo)

https://nitro.download/view/F026C5B1F2AA758/Voyage_Of_Growth_And_Discovery_(Mike_Kelley_And_Michael_Smith_2009).mkv

Language(s):English
Subtitles:None

The post Mike Kelley and Michael Smith – A Voyage of Growth and Discovery (2009) first appeared on Cinema of the World.

“BLIND COUNTRY is a collaboration between myself and filmmaker Ericka Beckman. It was inspired by the H.G. Wells short story The Country of the Blind, which was a favorite of mine as an adolescent. I was both fascinated and repulsed by this tale of a man having to give up his eyes to live in an alien sightless society. In rereading it as an adult I was struck by the obvious fact, which I was oblivious to as a boy, that it is a castration story, and by the thinly veiled sexual and racial fears within it. Blind Country bears no discernable reference to the Wells story but instead plays with these subtle underlying themes.” – Mike Kelley

Director: Mike Kelley, Ericka Beckman
Writers: Mike Kelley
Cast: Mike Kelley, Ian Bearce, Lori Desantis,
Producer: Ericka Beckman
Cinematography: H. John Penner, Frank Thackery
Music: Bruce Darby
Country: United States
Language: English
Runtime: 20mn

	
Blind Country (Ericka Beckman & Mike Kelley 1989).mkv

General
Container:  	Matroska
Runtime: 	20 min 6 s
Size: 	314 MiB
Video
Codec: 	x264
Resolution: 	762x576 
Aspect ratio:  	4:3
Frame rate: 	29.970 fps
Bit rate: 	1 990 kb/s
BPP: 	0.151
Audio
#1:  	2.0ch AC-3 @ 192 kb/s (Stereo)

https://nitro.download/view/6D6A1C1A7376D07/Blind_Country_(Ericka_Beckman_&_Mike_Kelley_1989).mkv

Language(s):English
Subtitles:None

The post Mike Kelley and Ericka Beckman – Blind Country (1989) first appeared on Cinema of the World.

Dream Island Girl is a visual poem about the loss of humanity in the age of material civilization. The plot is an illusion. Like in a dream, the emotional narrative tells the story.

Quote:
Some key points (CONTAINS SPOILERS)

The main theme tune is Pachelbel’s Canon in D, which represents the eternal.

Dream Island is a landfill garbage dump, symbolising the end result of civilization.

The lonely girl from the coastal countryside wanted to escape to Tokyo, but once there her dreams were shattered by the harsh realities of modern city life. She dreams about the world she left behind.

[04:11] Dialogue in tunnel~
Boy : “Sleep… Sleep…”
Girl : “Where are you going? Where are we going?”

The first memory depicts bereavement, death of parents, followed by the girl looking back and bathing her feet in the waves. As it reads in the script: “Only the sea heals the girl.”

In the girl’s boss’ apartment (the adult room) the girl starts playing Pachelbel’s Canon on piano and declares “I found this…” (eternity/ happiness through the eternal), repeating her words to emphasize the importance.

[36:08] In this scene the boy is making a declaration of love by asking her to stay with him forever. At first she’s scared and annoyed by anguish because she doesn’t want to feel trapped in Dream Island anymore. Her feelings give way to affection, but she decides to return home. From this moment on, boy pursues girl.

In the scene (during hometown memory) where the girl is chased into a hut, the encounter with a stranger is possibly symbolic, expressing that there is no safe haven in this world. (Adult world invades the sanctity of childhood memory). The scene ends with the girl licking her wounds (which the script describes as self-healing), followed by the present day girl basking in the healing power of sun and sea.

The girl can look back but she cannot return to the past.

The boy descends deeper into delusion. The girl’s boss is a symbol of the society the boy wants to destroy in revenge, the modern world that causes suffering.

The girl mutters repeatedly…
[58:14] “What should I do?”
[59:15] “Ken, I’m coming home.”

Boy and girl are reunited in a union of empathy and love. (Notice the girl is wearing the boy’s necklace). The union is healing~

The girl as a red rose. Girl and boy as red roses, in the river of life that runs through the city.

The boy who has offered support.

Reveal : Has the boy been carrying the dead girl all along? Is it all his illusion?
(Or shared dreams?)

The boy prays for sublimation.

Transformation through death & rebirth~

Girl looks to boy. Together, they escape into a new dream.

The girl is the boy’s eternal canon, something irreplaceable. He will carry her forever in his Dream Island emptied of the broken civilization.

The final scenes are a depiction of harmony and circle, with a sense of resurrection. In the end there is no end, only the eternal. The cycle of life is endless. The heading in the script for the final scene is “Country of Death–Rebirth.” The boy and girl are the people of Japan (the next generation).

Footnotes

The film uses a Japanese colour-code system of expression. Relating to the girl’s clothing but also to objects, backgrounds and surroundings~

White = innocence/ purity
Red = life experience/ adulthood
White/red = combination of the two/ in between/ transitional
Dark blue = maturity (specifically female/ womanhood) and is directly related to the sea (this is in reference to her adult dress on Dream Island)

Her white/red yukata dressing gown design features sakura (cherry blossoms).

The name of the girl’s hometown Hachimori means “forest” (many-trees).

The director describes the river that runs through the city as the river of life, continuously flowing. Water is a rejuvenating force. Flowers blossom.

[01:07:44] During the final chapter (death & rebirth) the girl can momentarily be seen as the White Bride riding the funeral cart in place of the coffin. You can barely notice her before she disappears out of shot. The script describes the funeral procession as heading towards the sea. In the penultimate scene the script describes the boy and girl as floating in the air (they are both on that cart), looking to the sky and disappearing into the sea.

From black screen to white, darkness into light, through the tunnel of the dream.
RK. ƸӜƷ

Director: Shôichirô Sasaki
Writers: Shôichirô Sasaki
Cast: Toyo Kikuchi, Sachiyo Nakao, Kazuki Tomokawa
Producer: Megumi Fujimura
Cinematography: Tetsuro Katsuragi
Production Company: NHK
Country: Japan
Language: Japanese
Runtime: 1h 15mn

	
Dream.Island.Girl.1974.720p.HDTV.AAC.2.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 14 min
Size: 	4.42 GiB
Video
Codec: 	x264
Resolution: 	994x720 
Aspect ratio:  	1.381
Frame rate: 	23.976 fps
Bit rate: 	8 247 kb/s
BPP: 	0.481
Audio
#1:  	Japanese 2.0ch AAC LC @ 192 kb/s

https://nitro.download/view/F6FCB9A274D3B12/Dream.Island.Girl.1974.720p.HDTV.AAC.2.0.x264-SaL.mkv

Language(s):Japanese
Subtitles:English, Russian, Japanese

The post Shôichirô Sasaki – Yumenoshima Shôjo AKA Dream Island Girl (1974) first appeared on Cinema of the World.

The archive consists of the following experimental short films:

Souvenir (1967, 10′)
Film (1967, 15′)
Ferreri (1967, 13′)
Vietnam (1967, 3′)
Fotografo (1967, 2′)

Short films_(1967)_Mario Schifano_720p.mkv

General
Container:  	Matroska
Runtime: 	54 min 20 s
Size: 	1 001 MiB
Video
Codec: 	h264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	2 312 kb/s
BPP: 	0.100
Audio
#1:  	2.0ch AAC LC @ 265 kb/s

https://nitro.download/view/628A9C1904534B3/Short_films_(1967)_Mario_Schifano_720p.mkv

Language(s):English
Subtitles:None

The post Mario Schifano – Short films (1967) first appeared on Cinema of the World.

“For months we experimented and represented ourselves, starting with simple walks in search of material for a thesis. How can we visually recreate a memory? We walked and filmed, photographed and painted, got to know each other and told our stories. An experience transformed into a story that speaks of a shared journey, made up of filming, changes of season, conversations about the moon, and exchanges of techniques. Inspired by “Dark Side of the Moon,” we tried to represent the intimate and personal emotions that came to us through the album. Each song has a language, each movement a color, each sound an expression. What remains today, half a century later? Something inexplicable, perhaps. A wonderful creation of friendship and mutual artistic esteem, the (re)creation of multiple memories, which overlap like membranes on the screen.“
Erik Negro

Director: Erik Negro, Bea Morino
Writers: Erik Negro, Bea Morino
Cinematography: Erik Negro
Country: Italy
Language: Italian
Runtime: 43mn

Return to the Moon (or Nothing)_(2023)_Erik Negro_1080p.mkv

General
Container:  	Matroska
Runtime: 	47 min 2 s
Size: 	1.69 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 866 kb/s
BPP: 	0.094
Audio
#1:  	2.0ch AAC LC @ 265 kb/s

https://nitro.download/view/6163AA63D439273/Return_to_the_Moon_(or_Nothing)_(2023)_Erik_Negro_1080p.mkv

Language(s):Italian
Subtitles:English (hardcoded)

The post Erik Negro & Bea Morino – Return to the Moon (or Nothing) (2026) first appeared on Cinema of the World.

A sect composed by young reclusive women and commanded by an authoritarian robot, investigate misterious forces that lead them progressively towards a state beyond time.

HARLEM TENDRE STOCK
(2012) Ferran Mendoza & Jimmy Gimferrer – NYC Blues Prod
With: Tiphaine Chauchat, Jenica Heintzelman, Eva Tusquets, Chloe Kernaghan, Charlotte Rabate, Constance Meyer, Lola Vila, Frances Bodomo.

At the end of the winter of 2012 I spent a season at my friend Ferran Mendoza’s house on 149W in Harlem. The street turned on the corner with Convent Avenue and in front of us was a very strange modern style church. Soon we started to call our house “the convent space”.

There, to make something of profit between the very long explorations I was doing in Manhattan, I decided to film a story, which Ferran and I would write as the film was being shot. I set a starting point by taking inspiration from David Lynch. I had read a text of his in which he explained that he had imagined Blue Velvet from three sentences: “Red Lips, Green Grass, Blue Velvet”. I decided that our film would start from: Cold zones, dirty clothes and Harlem Blues.

The “modus operandi” was: In the afternoon, we called one or two friends somewhere (almost always in the convent space), and we improvised a scene that we recorded with my Canon 5d camera and Ferran’s zoom audio recorder. I took care of the staging and Ferran worked with the actors. The system worked well enough, since the actors were mostly film students from NYU or Columbia and they had a certain respect for me for being a professional cinematographer while also trusting Ferran for reasons of friendship. Then in the evening we would invite them over for beers at the 1020 bar in front of the cathedral and mentally project the next scene from what we had shot. >>

	
Harlem Tendre Stock_(2012)_Ferran Mendoza & Jimmy Gimferrer_720p.mkv

General
Container:  	Matroska
Runtime: 	43 min 48 s
Size: 	699 MiB
Video
Codec: 	x264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 082 kb/s
BPP: 	0.094
Audio
#1:  	2.0ch AAC LC @ 147 kb/s

https://nitro.download/view/FE8CA1D7455A23C/Harlem_Tendre_Stock_(2012)_Ferran_Mendoza_&_Jimmy_Gimferrer_720p.mkv

Language(s):English
Subtitles:None

The post Ferran Mendoza & Jimmy Gimferrer – Harlem Tendre Stock (2012) first appeared on Cinema of the World.