Experimental

O Estado do Mundo is a compilation of 6 different short movies, retracting differents views of people above the world, showing people from different continents.

Luminous People from Thailand.
People traveling from Thailand to Laos on a boat, most part of the people seems to be dislocated with the travel, every one lost in their own reverie.

Germano from Brasil.
Some fishermans are trying to explore different parts of the ocean, trying to find better fishes and unpolluted areas. In their trip, their boat broke down, and they need help to back home safely.

One Way from India.
A man travel from Nepal to India. At his new country, he’s working as a security man, thinking about his trip, his expectations from a new and free Nepal and his future.Read More »

Quote:
Apichatpong Weerasethakul brought an appetite for experimen­tation to Thai cinema with his debut feature, an uncategorizable work that refracts documentary impressions of his homeland through the surrealist concept of the exquisite corpse game. Enlisting locals to contribute improvised narration to a simple tale, Apichatpong charts the collective construction of the fiction as each new encounter imbues it with unpredictable shades of fantasy and pathos. Shot over the course of two years in 16 mm black and white, Mysterious Object at Noon established the director’s fascination with the porous boundaries between the real and the imagined.Read More »

Like A Letter to Uncle Boonmee, Phantoms of Nabua is a portrait of home. The film portrays a communication of lights, the lights that exude, on the one hand, the comfort of home and, on the other, of destruction.

Synopsis :
A fluorescent tube illuminates an empty playground in the evening. Nearby a flash of light is projected on a makeshift screen. This outdoor movie is a portrait of a village repeatedly struck by lightning. As night falls, the silhouette figures of young men emerge, they are playing with a football raging with fire. They take turns kicking the ball which leaves illuminated trails in the grass. The lightning on the screen flickers amid the fire and the smoke rising from the ground. The game intensifies with each kick that sends the fireball soaring into the air. Finally the teens burn the screen and crowd around it to witness the blazing canvas, behind which is revealed the ghostly white beam of a projector.

Phantoms of Nabua is part of the multi-platform Primitive project which focuses on a concept of remembrance and extinction and is set in the northeast of Thailand.Read More »

This is a series of shorts that Lynch made after Mulholland Drive, using the actors from that film.

A story of a group of humanoid rabbits and their depressive, daily life. The plot includes Jane ironing, Suzie sitting on a couch, Jack walking in and out of the apartment, and the occasional solo singing number by Suzie or Jane. At one point the rabbits also make contact with their “leader”. A really Lynch-esque series of episodes.

A slow, stylish, eerie and extremely interesting story set “in a city deluged by constant rain where three rabbits live with a constant mystery”. Mr Lynch has a great talent for establishing atmosphere and this series is soaked with his trademark (weird) mood. When I watched the first episode I was not sure whether to laugh or be baffled at what I was seeing. 3 Rabbits talk out of sequence, an unseen audience claps whenever one of them enters the room and laughs (not because something funny is said, but at the misery of the rabbits), a candle burns in the corner, a demon face chants something undecipherable (reminds me of the litanies of Satan, the camera seems to be disturbed in the beginning of the 7 out of 8 episodes by something I can only guess to be a spirit.Read More »

New York Portrait

Hutton’s sketchbook of mid-1970s New York, edited in three parts over twelve years, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms, tonal contrasts, and shifts of scale—scrims of white mist and black smoke, of gauze, cloud, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti, skywriting, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island, making of it a lunar park, removed from time.
Part I
1978–79.
Part II
1980–81.
Part III
1990.Read More »

The Passenger (1975) marked the end of Antonioni’s three picture deal with MGM, and simultaneously the end of his mainstream acceptance. Although revered now as one of his finest works, The Passenger had lukewarm reception at best, with most of the American critics still bitter of Antonioni’s caricaturing of American capitalism in Zabriskie Point (1969). Since those two films had been costly flops, Antonioni found himself unable to secure investors for the arthouse pictures he’d become known for. Five years past, and still not a film, until finally Antonioni settled on The Oberwald Mystery.Read More »

Description: Cohl made “Fantasmagorie” from February to May or June 1908. This is considered the first fully animated film ever made. It was made up of 700 drawings, each of which was double-exposed, leading to a running time of almost two minutes. Despite the short running time, the piece was packed with material devised in a “stream of consciousness” style. It borrowed from Blackton in using a “chalk-line effect” (filming black lines on white paper, then reversing the negative to make it look like white chalk on a black chalkboard), having the main character drawn by the artist’s hand on camera, and the main characters of a clown and a gentleman (this taken from Blackton’s “Humorous Phases of Funny Faces”). The film, in all of its wild transformations, is a direct tribute to the by-then forgotten Incoherent movement. The title is a reference to the “fantasmograph”, a mid-Nineteenth Century variant of the magic lantern that projected ghostly images that floated across the walls.Read More »

Quote:
The 1001 transformations of a woman into a witch and vice versa.

Boris Lehman wrote:
When Roland Lethem says, referring to Le Vampire de la Cinémathèque (1971), a tribute to Joseph Plateau, the brilliant inventor of the phenakistoscope, that ‘you have to let yourself be sucked dry by the film’, most viewers immediately close their eyes, shout their disapproval, break their seats and leave the theatre furious and frustrated. They cannot see because they are not free, and as Philippe Bordier said, ‘because they have shit in their eyes’.Read More »

Quote:
The deconstruction of visual pleasures and the emergence of a new visual poetry.

This experimental film is about the representation and alternative views trelated to the passage of time. The visual syntheses are assembled with the voices of the woman that gives birth and dies, and is torn by the conflicts inhabiting her body. “Topos” (Place) is in dialogue with the paintings of Uccello, Carpaccio, Cranach, De Chirico and Balthus, in an attempt to deconstruct the visual pleasures of traditional cinema, but simultaneously to give birth to an innovative seductive iconography.Read More »