Experimental

Cosmic Ray (1962)

Experimental short uses Ray Charles’ “What’d I Say” as accompaniment to constantly shifting collage of female nude, cartoons, and newsreels of atomic bomb explosions.Read More »

A family’s place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape.Read More »

Violin Fase (1986)

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In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.Read More »

Los ilusos (2013)

The Wishful Thinkers, Jonas Trueba’s virtually home-made follow-up to the altogether less interesting Every Song Talks about Me, is a black and white celebration of open-handed film making as well as of those old chestnuts: art and life. This black and white portrayal of a group of young Spaniards who share an innocent, unconditional love of film has become something of a cult item amongst film literati in Spain with an inevitably lengthy run of festival screenings likely to extend its appeal to those in the know.Read More »

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Shades (1985)

“Unfolding buildings drawn across the screen in spectrums of grey reflecting buildings in their surfaces cutting the sky into triangles.”
Jim JenningsRead More »

Dispatch (1979)
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‘Dispatch,’ another black-and-white film, begins with oscillating greyish surface modulations that move sideways on the screen, rendering our view a partial window to some larger movement taking place. Geographic graphic ribbings then ascend, and as perceived, the thought occurs we might be watching animated film. A shadow of a truck’s front end appears in movement, then comes gently to a halt: we know this image to be photographed, and yet the texture of the film itself hasn’t changed at all. Further readings of the upwards, downwards, and occasional obliquely graphic movements of the patterns on the screen soon describe to us the vantage point of the camera stationed above some traffic intersection.Read More »

“For Jean-Luc Godard,with all the admiration and affection of
Jacques Perconte and Nicole Brenez,December 3, 2020.”

At the end of October (a few days before my birthday actually) Nicole Brenez asked me to produce a small film for a great man, a short film, a film like a birthday song, a common gift. Of course, I go for it, although I wonder how I could do something like this. That JLG sees one of my films, that he tampers with it and uses it is a blessing, a huge honor, but it’s quite another thing to send him images, to make a little film for him, so humble the gesture be it … Nicole Brenez sends me many portraits that she likes very much, some are historical documents, others images made by JLG himself. She also sends me documents, films, recordings. An incredible amount of stuff for a month of immersion. The birthday is December 3. I don’t know why, but I immediately wanted to grab my camera and take JLG to a screen on a boat, for a ride in the port of Rotterdam (where I live). I have tried several times to express this intuition. I wanted to film.Read More »

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Loosely based on William A. Seiter’s 1948 film One Touch of Venus, Steven Arnold’s first film is a macabre, decadent work presenting mannequins and models that travel through strange universes.

From Amos Vogel’s Film as a Subversive Art:
A haunting, genuinely decadent work about mannequins that may be real and girls that may be models, journeying through strange universes towards possible self-discovery. An exorbitant, perverse sensibility informs the ambiguous images and events.Read More »

Synopsis
Digital edition of the original 1993 video-tape. Dedicated to Dr. Albert Hofmann and his famous bicycle trip.
(FILMAFFINITY)Read More »