Experimental

Standard Gauge
1984, 16mm, colour, sound, 35 min

“While on one level, Standard Gauge is Fisher’s homage to 35mm and to the diverse cinematic world it made possible, the irony of its having been filmed in 16mm reveals a conceptual paradox central to the film, and which unites it with the webs of irony and paradox evident in his earlier work. (…) As Fisher explains in his program notes, the thirty-two minute shot “is virtually the maximum length of a scene in 16mm, and is longer by far than 35mm is capable of.” For all its potentials and accomplishments, standard gauge is limited, and in ways that a non standard gauge-a gauge quite marginal to mainstream film history-is not”. (Scott MacDonald)Read More »

Stephen Dwoskin was born in New York in 1939 and began making independent shorts there in 1961. In 1964 he followed his research work to London where he settled and participated in the founding of the London Filmmaker’s Co-op. His experimental films, for which he himself does the camera work, play with ideas of desire, sexual and mental solitude and the passage of time. In his films he also explores representation in cinema, performances, personal impressions and his own physical handicap which has been a source of inspiration for him throughout his career. His sensitive and emancipating works have been the subject of various international presentations.Read More »

Synopsis
In their new film somniloquies, Lucien Castaing-Taylor and Verena Paravel overcome the boundaries between inner dreamscapes and human bodies. At the start, flowing forms can be seen and a gentle, undefinable sound made out in the background. McGregor’s voice appears and makes an invitation: “I have expected you, come-on in, I said I would grant an interview”. The more we listen to him and enter into his dreamworld, the clearer the contours of the sleeping bodies become, before they seem to dissipate once again. The dreaming man speaks with people who are sawing open his body, removing his organs and stitching him back up. As we find out how painful he finds the stitches, we ask ourselves for how long we’ll want to follow the camera, which sometimes seems to caress the bodies tenderly, but at other times seeks to pierce them almost brutally, like an x-ray. Just in time, we hear his voice: “Let’s go to future land (…) it’s shining near the corner”. In this case, sleeping in the cinema means pushing forward to its very limits.Read More »

Silent, 14-minute short.

A history of scarred surfaces, an inquiry, and an imagining: for the marks we see and the marks we make, for the languages we can read and for those we are trying to learn. Reproduced by hand on an old contact printer resulting in individual, unique release prints.Read More »

Paired texts as dueling histories; a journey imagined and remembered; 57 mileage markers produce an equal number of prospects. The latest in a series of films about the division of landscapes, objects, people, ideas and the Byrd family of Virginia during the early 18th century.
—David GattenRead More »

“In [Sonbert’s] best work, behind the mask of unalloyed visual pleasure lurks a dramatic intensity and trajectory, not just of personal concerns or protracted journeys but of massive social upheavals, the melding or collision of distinct cultural rituals of crisis, cessation, renewal.” – Paul Arthur

(Descriptions below are online program notes written by Jon Gartenberg)

SHORT FUSE is informed by Sonbert’s awareness of his own mortality, once he was diagnosed with HIV. As film critic Steven Holden astutely noted, in SHORT FUSE, “an undercurrent of rage seeps through the cracks of its ebullient surface.” The opening of the film explodes with a sea of turbulent emotions, underscored by the gripping sound track from Prokofiev’s First Piano Concerto. Shifting musical passages collide against images of leisure, war, and protest.Read More »

Quote:
A product purposed of an installation project held at Tokyo Metropolitan Museum of Photography. Recomposed as completed film work in 2009.

It originally was theme for “Complete Chaos” visualized bydouble exposure method, however it appeared entire opposite phenomenon as “Birth of Cosmos”, and that is unparalleled miraculous story behind the film.

This film visually demonstrates the fact that human has ability to change Chaos to Cosmos.
A transcend Free Jazz sound is presented by band Osorezan commanded of Jim O’Rourke.
Now images and sound break the wall of the universe and plunge in the new world.Read More »

Inspired by live performance of Inconsolable Ghost at OT301, Amsterdam.

Images by Makino Takashi.
Music by Inconsolable Ghost
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Most likely my favourite film of all time; the greatest sensory experience I had watching a film. Makino Takashi is probably the most formally interesting filmmaker working today and this is a great intro to his work. Watching his films are looking at the universe from outer space, falling into decay, destruction and beauty – and interesting sound collaborations.Read More »

This evocative tribute to the mother of American avantgarde film calls forth the spirit of one who was larger than life as recounted by those who knew her. Friends and contemporaries float through her homes, recalling in tiny bits and pieces words of Deren’s architectural and personal interior space. Clips from her films are projected back into the spaces where they were originally filmed. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know.”
BERLINALERead More »