Experimental

A girl broods over a failed love affair while the camera roves over her.

Featuring Joan Adler (who also appears in Chinese Checkers), Soliloquy is one of the four early Stephen Dwoskin films that were awarded the Solvey prize at the EXPRMNTL festival in Knokke, Belgium in 1967. “In Soliloquy a girl broods uncertainly over a failed love affair, while the camera roves over her fingers, her cigarette, her knuckles, her lips and the hand mirror in which she peers. In its dark reflection one isolated eye seems a dead thing, twitching; the split between her body and her spoken thoughts becomes a strange bilocation of consciousness; towards the end, an aeroplane drones overhead” (Raymond Durgnat)Read More »

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Autobiography series.
“I think about Fragments de l’ange and the sequence with Françoise and Ermina in the countryside, I ask myself how to “justify” it in the whole film and I say to myself that the text could say: “The angel leads me to… “that is, the angel is all words, it is synonymous with language. The angel is the word in the unconscious state or rather it is the voice of the conscience, voice that determines our conduct, our demand in life. The angel is the shadow, the negative of the image, the other self of the image, the deep voice of the flesh; it is a thousand arrows embedded in the frame of reality. Arrow: seam, collure”.

(Notebook 10 page 43, translated by Xochitl Camblor-Macherel)
Teo HernandezRead More »

Mannesmann was a German industrial conglomerate. It was originally established as a manufacturer of steel pipes in 1890 under the name “Deutsch-Österreichische Mannesmannröhren-Werke AG”. (Loosely translated: “German-Austrian Mannesmann pipe mills AG”). In the twentieth century, Mannesmann’s product range grew and the company expanded into numerous sectors – starting from various steel products and trading to mechanical and electrical engineering, automotive and telecommunications. From 1955, the conglomerate’s management holding with headquarters in Düsseldorf was named Mannesmann AG. – more (on wikipedia)Read More »

Fear of Blushing bursts forth with irrepressible hand-painted color, corroded emulsion and a menacing soundscape of looped voices, distorted instrumentals, samples & rhythm. Fleeting visions and voices erupt out of the ominous abstraction in unusual juxtapositions, suggesting a cinematic free-association marked by anxiety, pleasure and shame. Best appreciated in the immediate; the 7200 painted frames fly by at an average of 12 per second.Read More »

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Garrel leap into a form of generational psychodrama with the improvised La concentration, shot over a 72-hour period in a locked room with the camera on visible tracks as Jean-Pierre Leaud and Zouzou moved between a boiling hot room and an ice-cold one with a bed in between.Read More »

In Emerald City conjoined cabaret dancers Ligéia and Séraphine drift between dimensions guided by witch-mother’s visions. Fractured dreams arise a shadowed magician and an enigmatic beast as divided bodies become doorway to other worldsRead More »

“For heaven’s sake, what a question!” exclaims the mother as her son begins the conversation; they had avoided one another for decades.
The film traces a reencounter between the director and his aged parents. It is an attempt at a personal revision of the past. In the process, a new view of his parents emerges, which also provides again and again insight into a bygone era. The story of their marriage, however, borders on a classic drama, leaving us feeling forlorn and miserable even today.Read More »

The latest entry in Heinz Emigholz’s (Slaughterhouses of Modernity, NYFF60) incisive, decades-long inquiry into the cinematic representation of space contrasts two Turin landmarks designed by Italian neoclassical architect Alessandro Antonelli: the narrow Casa Scaccabarozzi and the towering Mole Antonelliana, now home to the Museo Nazionale del Cinema. With Emigholz’s signature metrical cutting and oblique framings, Ecce Mole explores cinema’s own spatial and symbolic dimensions through the buildings’ opposing scales and functions—interior and exterior, domestic and civic, modest and monumental.Read More »

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Based on the epic prose poem by Lautreamont detailing the metaphysical adventures of the sinister Maldoror. This episode involves Maldoror’s hallucinatory encounter with an entity in the form of a glowworm that promises him enlightenment in exchange for the murder of a wraith called Prostitution. Maldoror, enraged, slays the hideous worm and makes love to Prostitution sealing his arcane initiation by which he is enlightened and transformed into a demon enemy of humanity.Read More »