A portrait of a filmmaker confessing his remorse at the scandalous manner in which he gathered material for his voyeuristic film, Spying. here an eerie interpersonal relationship is developed between the filmmaker and his camera which culminates in violence…Read More »
Two women spend a weekend together at the North Sea. Walks on the beach, fish buns at a snack stand, mobile weather forecasts. Sky, horizon, water. One of them will soon return to her family in Argentina while the other one will try to come a step closer to the ocean. She travels to the Caribbean and the foreign makes her vulnerable. Then, the land is out of sight. On a sailing vessel she crosses the Atlantic Ocean. One wave follows the other, they never resemble. Thoughts go astray, time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. And when the other one reappears in it, the wind is still in her hair while the ground beneath her feet is solid. She returns and the one of them could ask: “Have you changed?”Read More »
Shot with a cell-phone camera, focuses on the sound of rain and visuals of pretty, multicolored lights blurred in a watery car window.Read More »
An absolute surrealistic movie. Somebody gets killed, his coffin gets out of control and after a surrealistic chase it stops. The person gets out of it and let everybody who followed the coffin disapear.Read More »
Confessions of a Sociopath is a 60-minute autobiographical film on digital video and Super 8 film, conceived as a real-life version of Beckett’s Krapp’s Last Tape. In this film, Joe Gibbons plays a fictionalized version of himself as he discovers a roomful of Super 8 footage from his own life, detailing events he can no longer recall. This footage shows his earlier film experiments, his descent into destructive behavior, and his “bottoming out” on drugs and alcohol. At a certain point, the films are replaced by random photos, police records, and psychiatric hospital records. In the role of the narrator, Gibbons uses psychiatric terminology to describe his past exploits, as a way of poking fun at both his own misfortune and at psychiatry’s ability to medicalize non-conformity. Through Confessions of a Sociopath, the now-reformed narrator seeks to understand his life, and make amends.Read More »
A man who has devoted his life to tending roses finally confronts his love objects, castigating them for their preening self-regard and disregard of his own feelings, resulting in a violent catharsis.Read More »
An auto-documentary about a disenfranchised Everyman and his struggle to re-integrate himself into society. He fails and turns to crime.Read More »
From Amos Vogel’s Film as a Subversive Art:
Genet’s only film — hounded by the censors, unavailable, secret — is an early and remarkably moving attempt to portray homosexual passions. Already a classic, it succeeds as perhaps no other film to intimate the explosive power of frustrated sex; male prisoners in solitary confinement “embracing” walls, ramming them in erotic despair with erect penis, swaying convulsively to auto-erotic lust, kissing their own bodies and tattoos in sexual frenzy. In a supremely poetic (and visual) metaphor of sexual deprivation, two prisoners in adjoining cells symbolically perform fellatio by alternately blowing or inhaling each other’s cigarette smoke through a straw inserted in a wall opening, while masturbating. Like all of Genet’s early work, the entire film is, in effect, a single onanistic fantasy, filled with desperate frustration and sensuous nostalgia. In the end, and after many failures, some flowers — painfully passed from one barred window to the next — are finally caught by the prisoner in the adjoining cell in a poetic affirmation of love in infinite imprisonment.Read More »
Part of the New American Cinema group in New York City during the 60s, Jack Smith’s flamboyant aesthetic can be characterized by a mix of baroque exoticism, gaudy costumes, and detritus salvaged from the city streets. Flaming Creatures is a non-narrative, Dionysian orgy, complete with wild dancing, gender bending, and a climactic earthquake. The carnivalesque madness of the film is reinforced by the chaotic density of its formal composition. Smith’s deliberate spatial disorientation creates a pansexual landscape of tangled body parts; just as the viewer is unable to situate the visual coordinates of the image, the creatures are unaware of which extremity belongs to whom.Read More »