Magazine Mouth 1983 – 7 min.
Depression Focus Please 1984 – 4 min.
Talking to Myself 1985 – 3 min.
Kafka Kamera 1985 – 3 min.
Subways 1976 – 13 min.
Going to Work 1981 – 7 min.
My Cat, My Garden, 9/11 2001 – 6 min.
Apologies 1986 – 17 min.
Locomotion 1981 – 7 min.Read More »
Quote:
New York City’s Monterey is a residence hotel; the residents we see are older, most live alone. The camera, usually stationery, begins with a look into the lobby. The film ends with a panorama from the hotel’s rooftop. There’s no soundtrack. The lobby is clean with granite floors. Men wear hats. People enter and exit an elevator. The camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close. The film provides the feeling of what it’s like to live there.Read More »
IMDB wrote:
The impossible relationship between a man and a woman, but also the destruction of aesthetics. The girl wants to seduce her beloved with incoherent stories that he does not care at all. Through this relationship, the film projects the idea according to which it is impossible to tell a story. The project does not pursue the coherence of a well-told story, rather it demands to observe what is shown and to deepen the different facets of the characters. Its purpose is to lay the foundations of a certain pop aesthetic in a Spanish way, in which the images can not refer to the world but to the publicity that the world sells to us.Read More »
A foggy portrait on snow clad mountains.Read More »
The concepts of synergetics within biological systems and effects of entropy on the organism of the socio, leading to the birth of Homo Insanicus.
The psychedelic surreal experiment, the last film from the biophysics cycle and the first film from the homo paradoxum cycle. The film is narrated by surreal sofisticated scientific-philosophical contemplations intermixed with a speech of Brezhnev and a speech of a schizophrenic patient.
“I have this feeling that in the world there is no politics or sociology as such, there is a field of psychiatry, and in our country – psychopathology.” – V. Kobrin.Read More »
Inspired by a lesson from Erik Satie; a film in the form of a street – Castro Street running by the Standard Oil Refinery in Richmond, California … switch engines on one side and refinery tanks, stacks and buildings on the other – the street and film, ending at a red lumber company. All visual and sound elements from the street, progressing from the beginning to the end of the street, one side is black-and-white (secondary), and one side is colour – like male and female elements. The emergence of a long switch-engine shot (black-and-white solo) is to the filmmaker the essential of consciousness.Read More »
Michael Pilz’s 285-minute Himmel and Erde is an essay film or an ethnographic documentary about life in the Styrian mountain village of St. Anna. It contemplates the finite lot of individuals as part of a continuum of human experience in the natural world. Himmel und Erde, which translates to Heaven and Earth, was recorded between 1979 and 1982. The documentary invites the viewer to contemplate the disruptive effects of technology on economic and social ties through circumscribed vignettes of village life which are oft repeated either as recycled footage or variations on a theme. The film is a meditation on time, nature, and the struggles of man, as well as a record of a lifestyle ceasing to exist. “If you let it happen, the film will pull you into its cosmos; it is one of those works that teaches you to see and listen again.”Read More »
Experimental filmmaker Hollis Frampton shoots a series of portrait shots of each of his fourteen friends, each with half of their face in shadow and each with a different expression. After all fourteen introductions have been made, Frampton then presents a series of brief shots in which each friend shown previously performs an everyday activity for the camera, from smoking to drinking to sitting. The different angles and the varied lighting in each of these lightning-quick shots are used to create a mysterious and sinister atmosphere.Read More »
If we really strive for emancipation from visual maiming in the cinema, away from institutionalised viewing-schemata on TV, it is not sufficient to keep expanding the boundaries and to start breaking new visual grounds. In addition to the small avant-garde of filmmakers doing so, we need an army of others starting to sow and cultivate the ploughed-up grounds and who will bring in the harvest for the benefit of those still visually undernourished. Werner Nekes, the doyen of German Experimental Film once claimed that the first trains were more important than golden stage coaches. Well, alright then, let’s use these newly-developed means of visual trans-portation to advance into the new grounds into which the tracks have been laid down for years by the Avant-garde.Read More »