Puccini Conservato was commissioned by the Lucca Film Festival for the 150th anniversary of the famous Italian composer’s birth. In this delightful video, the Canadian master offers a witty visual and sonic commentary to Puccini’s La Bohème.Read More »
Jonas Mekas spend his summer holiday with Jackie Kennedy, her sister’s families and children.Read More »
Quote:
18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst, he shot his masterpiece 37/78 Tree Again. 18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1895 L’Arrivée d’un train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard! (Peter Tscherkassky)Read More »
Quote:
The city today is as rationalised and regulated as a production process. The images which today determine the day of the city are operative images, control images. Representations of traffic regulation, by car, train or metro, representations determining the height at which mobile phone network transmitters are fixed, and where the holes in the networks are. Images from thermo-cameras to discover heat loss from buildings. And digital models of the city, portrayed with fewer shapes of buildings or roofs than were used in the 19th century when planned industrial cities arose, amongst them the Lille agglomeration. Despite their boulevards, promenades, market places, arcades and churches, these cities are already machines for living and working. I too want to “remake” the city films, but with different images. Limited time and means themselves demand concentration on just a few, archetypal chapters. Fragments, or preliminary studies. (Harun Farocki)Read More »
Quote:
The final film of “Elective Affinities”. A central element is a documentary film about paranoid conditions. Another is a flow of images of an apple tree in my back yard filmed impulsively, without forethought, the opposite of the static camera of FOG LINE. The radical breaking with the previous passivity of the camera has deep psychological dimensions. That was the first thing that led me to bring the paranoid material into the zone of the tree footage. The elements of sound and image are closely matched to each other, frame by frame. Inserted in them at the heart of the film are images of children, Kenneth and Louise, from an instructional documentary about the seasons. Cries of cattle being auctioned and sent to the stockyards are also inserted. Read More »
This descent into the mysterious world beneath the city is like science fiction – a claustrophobic visual masterpiece.Read More »
Quote:
My Mexican Bretzel opens with black-and-white clips of pilots during World War II in Switzerland, subtitled with excerpts from – so we are told – the diary of Vivian Barrett. She talks about herself and her husband Léon, who partly lost his hearing in an accident with his plane and could no longer fly. The couple’s glamourous life then unfolds in diary excerpts and footage shot by Léon, about whom we also learn that he developed a successful anti-depressant, and had an obsession with many different forms of transportation.Read More »
Synopsis
Two travelers journey in search of a flying-craft that can deliver them from this world to other dimensions of existence, all the while voicing and recording their memories and thoughts.Read More »
