Experimental

3 Films by Hans Richter.
ALLES DREHT SICH, ALLES BEWEGT SICH (1929) (00:03:25)
RHYTHM 23 (1923) (00:03:22)
TWO PENCE MAGIC (1930) (00:02:17)Read More »

This is an early experimental short by Hans Richter.Read More »

FILM; A Pioneering Dialogue Between Actress and Image
By J. HOBERMAN

ANDY WARHOL has so become his own trademark — and is so much a one-name synonym for the culture of celebrity — that it can be a shock to realize just how brilliantly original he was as a visual artist. A case in point: The double-screen video-based film installation ”Outer and Inner Space” at the Whitney Museum (through Nov. 30), which places his glamorous, doomed superstar Edie Sedgwick in a dialogue with her own video-taped image.Read More »

Will Sloan, UltraDogme.com wrote:
It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that invite us to wonder at a single visual idea (Sleep, Kiss, Eat). Quickly he introduced sound, color, movie stars, and more conventional visual grammar until finally arriving at Andy Warhol’s Bad (1976), which is so close to a “real movie” that Warhol himself had barely anything to do with it. Warhol made Vinyl (1965) at around the midpoint of his stylistic evolution, after his incorporation of sound but before Paul Morrissey’s domesticating influence. I like much of Warhol’s cinema on both sides of this dividing line, but Vinyl for me represents a beautiful moment when the evolution broke down. What if, after cinema’s birth, the medium had developed an entirely different visual language?Read More »

Why make porn these days, you wonder? What used to be underground smutt is now so mainstream it becomes weird when the pizzaboy doesn’t make a move at you. We are shocked at women breastfeeding in public but consider it amusing when a guy gets it up the rear by a horse.
I hold nothing against porn itself. What does make my skin creep is the total lack of the pure basics of what i consider good sex: the hunger.Read More »

The movies of Rustam Khamdamov are impossible to find in the West, and for the most part in his native Russia as well.

Vokaldy paralelder [Vocal Parallels] , which happily has reached its audience, but only after nine years of production due to numerous obstacles and stoppages. What is THIS film about? Again, no definite plot, but a kind of a concert-film. You most probably exclaim in astonishment, absolutely disappointed: What?! A concert? Yes, it’s a surreal, impressionistic concert of classical opera pieces performed by several retired Soviet opera divas: Roza Dzhamanova, Araksiia Davtian, Bibigul’ Tulegenova, and the late Erik Salim-Meriuert (Kurmangaliev), a fantastic countertenor.Read More »

“NY Times wrote:
RICHARD SCHECHNER’S “Dionysus in 69” played during 1968 and 1969 in a converted garage on Wooster Street. Brian De Palma made his movie version in the course of just two actual performances. It opened yesterday at the Kips Bay Theater.

Although rough in a few technical details, it is a film of extraordinary grace and power. With exceptional imagination and intelligence, De Palma has managed both to preserve the complex immediacies of Schechner’s dramatic event (based on “The Bacchae” of Euripides) and to work those immediacies into the passionate and formal properties of his own creationRead More »

Quote:
“A filmmaker and academic, Stephane Marti has pursued cinema as a visual art form, divorced from the codes of the dominant narrative cinema, since 1976. He is a passionate and militant advocate of Super-8, a filmmaking tool which he has used for 30 years.

His work has been shown in festivals and international presentations and has elicited numerous articles and interviews. His flamboyant, baroque and sensual style focuses principally on the Body and the Sacred.Read More »

“Born in Donegal, Ireland, Vivienne Dick moved to New York in 1975. There she became part of a group of filmmakers affiliated to the music and aesthetics known as ‘No Wave’. Shot mainly on Super-8, Dick’s films from this period feature many people and musicians from the No Wave movement in New York, such as Lydia Lunch, Pat Place, James Chance and Ikue Mori. Invoking the spirit of ’60s underground filmmakers, her work betrays an interest in individual transgression, urban street life, kitsch and pop culture. Multilayered and open-ended, the work is framed from a female perspective, with an overriding concern for social conditioning and sexual politics”.Read More »