Experimental

LIGHT YEARS is a collage film and a journey through the Swedish landscape, traversing stellar distances in units of 5878 trillion miles. It is a film acutely in the present reflecting our temporal existence … continuous and imperfect.Read More »

While extracting and polishing their blocks of stone, stonecutters used to say the stone is coming to life. This paradox provided Matsumoto with the best metaphor for what making a film is all about. In his opinion, filmmakers work images in the same way that stonecutters work stones.Read More »

ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.Read More »

Metastasis presents layered projections of a toilet but both the name and the equipment (Matsumoto used an Electro Color Processor a machine commonly used by doctors) convey the ever-present fear of cancer in Japan of that time.Read More »

Filmed at Benning’s home in Val Verde during the first month of the pandemic, the film is a portrait of that time.Read More »

Toto est un marcassin accueilli par Madeleine. La bête va grandir, dans les cœurs, mais sur ses pattes aussi. Vincent affectionne les singes, dont il part retrouver les facéties en Inde. Et le pauvre Joseph souffre de cauchemars causés par la machine artificielle à respirer qu’il est contraint d’utiliser. C’est Pierre qui se trouve à nouer toutes ces aventures. Pierre Creton, ouvrier agricole et cinéaste, qui vit à Vattetot, et qui retrouve ici la veine de L’Heure du Berger (Grand Prix FIDMarseille 2008). Autrement dit avec l’autobiographique teinté de fantastique, avec l’extraordinaire pêché dans l’ordinaire, avec l’affection et l’amour portés aux êtres, humains et animaux confondus, avec l’humour saupoudrant chaque amorce de drame. Read More »

Quote:
Using their sound and film equipment like musical instruments, the members of the band GUI AIUEO:S create an audiovisual work of art. On their journey, they search for UFOs, meet odd hermits, and are introduced to the sustainable toilet. Go SHIBATA, winner of the 2011 NIPPON VISIONS AWARD, presents an eccentric performance-roadmovie-documentary. Hop on board and step on the gas!Read More »

In Manhattan’s Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It’s a confrontation between a couple: he demands to know what’s wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions – a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What’s the nature of making a movie?Read More »

Quote:
Authentically ‘New’ German Cinema, and, simultaneously, an archaeology of narrative film itself, Wyborny’s avant-garde landmark defines cinema as a ‘nation’ that has perversely acquired rulers, laws and hierarchies before it has even been physically mapped out. At first appearing to spin an elementary yarn of social organisation (the predictably fraught establishment of a rudimentary commune in the Moroccan desert of 1911) in the ‘authoritative’ film language of DW Griffith, Wyborny proceeds to break down that language to its constituent elements and produce fragmentary hints of alternatives. Structural film-making of a rare wit and accessibility results, with flashes of appropriate absurdity highlighting the redundancy of closed systems, whether social or cinematic.Read More »