Cosmotropia de Xam is back with more “arthouse horror” with his latest feature, MALACREANZA: FROM THE DIARY OF A BROKEN DOLL.
JASON COFFMAN wrote:
This film, his follow-up to DIABOLIQUE, is touted as both “arthouse horror” and “experimental giallo,” and while it is similar in tone to DIABOLIQUE, it is even further removed from standard narrative than that film. MALACREANZA only features one actor on screen during its entire running time, and features imagery more traditionally associated with experimental film than narrative features.
Anna (Shivabel) wakes up, nude, near what appears to be an abandoned factory. She wanders around and hears voices that seem to control her. These voices are the only other presences in the film—other than Anna, no actors appear on-screen. The voices taunt and command, as Anna wanders from one bizarre nightmare world to the next, similarly to how the characters in DIABOLIQUE would float from one place to another, but even more abstract in both its narrative structure and visual style.Read More »
Bipolar (2014)
Film by Fred L’Epee
In collaboration with Kenneth Gentry and Ed Alvarado.
“The theme of bipolarity is seen through various means: the natural and the man-made; production and destruction; energy and adynamia; peace and apocalypse; equilibrium and disequilibrium — from the beginning to the end. This emerging view of a complex “bipolar climate machinery” urgently calls for a major research effort in order to decipher and quantify the interplay of atmospheric and social processes. When the world is in no accordance with all the cyclic combinations, a more or less bipolar world cannot be inevitable”Read More »
“The White Widow” is a psychotropic visual arts film representing the themes of mythology, mysticism, and the existential struggle. The realm is that of the subconscious, the alterations of perception, in the other-worldly than the worldly. Once upon a time the white widow at the edge of a path.Read More »
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In British director Don Levy’s Herostratus, a young poet, Max (Michael Gothard, The Devils), decides to commit suicide in public as a form of protest. He hires a prestigious marketing company to capture the event and promote it to the masses. As preparations begin, however, Max realizes that his plan might be flawed – he doubts that the company would cover the event as he wishes. With only a few days left, the young rebel is faced with an impossible dilemma – finish what he has started, or abandon his plan and run away.
Herostratus reminded me about two very powerful films: Marco Bellocchio’s Fists in the Pocket (1965) and Bernardo Bertolucci’s Partner (1968). In the former, a young epileptic (Lou Castel), frustrated with the world around him, goes on a family killing spree. In the latter – a film loosely based on Fyodor Dostoevsky’s work The Double – a passionate revolutionary’s (Pier Clementi) plan to commit suicide issuddenly thrown into turmoil when a mysterious double appears.Read More »
Two teenage girls, both named Marie, decide that since the world is spoiled they will be spoiled as well; accordingly they embark on a series of destructive pranks in which they consume and destroy the world about them. This freewheeling, madcap feminist farce was immediately banned by the government.Read More »
From Imdb:
Richard Martini’s “Camera” is an ambitious – yet, addictive independent film encompassing intrigue, comedy and adventure. An inside look into the lives of several people – via the one digital camera they all buy – it’s a compulsively magnetic piece that shows flair and creativity on behalf of the helmer. It’s got no budget and it’s got no buzz – but “Camera” is a rare delight, and especially interesting to see Martini can draw in some fine cameos by people like Jack Nicholson, Oliver Stone, and Angie Everhart.
Bravo Martini – we look forward to your next project.Read More »
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Notable film theorist Gene Youngblood has this to say about the “Cosmic Cinema” of Jordan Belson in his classic book “Expanded Cinema”:
“Certain phenomena manage to touch a realm of our consciousness so seldom reached that when it is awakened we are shocked and profoundly moved. It’s an experience of self-realization as much as an encounter with the external world. The cosmic films of Jordan Belson possess this rare and enigmatic power.Read More »
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This film took 300,000 photos, riots, wildfires, paintings in abandoned houses, two years and zero graphics to make. It changed my entire life.
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Circle of Abstract Ritual began as an exploration of the idea that creation and destruction might be the same thing. The destruction end of that thought began in earnest when riots broke out in my neighborhood in Anaheim, California, 2012. I immediately climbed onto my landlord’s roof without asking and began recording the unfolding events. The news agencies I contacted had no idea what to do with time lapse footage of riots, which was okay with me because I had been thinking about recontextualizing news as art for some time. After that I got the bug. I chased down wildfires, walked down storm drains on the L.A. River and found abandoned houses where I could set up elaborate optical illusion paintings. The illusion part of the paintings are not an end in themselves in my work. They’re an intimation of things we can’t physically detect; a way to get an ever so slight edge on the unknowable.Read More »
The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.
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Cinema’s onscreen worlds have always borne an indexical bond to the real, thanks to film’s ability to register traces of physical reality and preserve them as enduring images. What happens when computer-generated video game images—images possessing no such indexical bond—usurp film as the predominant medium of visual worldmaking? How does one’s relation to onscreen heroes shift when we no longer identify with real bodies, but with affectless avatars scarcely possessing a face?Read More »
