Experimental

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While Stan Brakhage’s diverse output includes a wide variety of films in each period, there has always been a group that I’ve thought of as the “main line” of his work. Usually his strongest and most original films, they are also the ones that expand his limits, pushing his work into new territory. Even before the somnambulist-protagonist puts out his eyes in the early The Way to Shadow Garden, Brakhage’s long filmmaking career had begun to follow a particular trajectory, an arch that stretches further and further away from the given. The impulse has always been to obliterate social conventions of eyesight in favor of something more original, more unpredictable, more unruly.Read More »

Guy Gilles’ view of Mexico focuses mainly on the dreams of ordinary Mexicans and their ways of expression: fun and festivity.Read More »

In this sensual experimental elegy by Harmony Korine, spellbinding infrared photography evokes a dreamlike portrait of a tormented assassin.Read More »

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Sinewy fissures splinter the geometric confections and viscous pools of decaying nitrate are set dancing to the slightly warped sounds of Tommy Dorsey and Raymond Scott’s big band jazz.

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A study of the single frame and rhythms that can be read by the eye. Constructed by cutting, pasting, and painting both clear film and filmed images.Read More »

Experimental short film directed in 2024 by Ken Jacobs.Read More »

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Structured in the camera by adjusting the focus frame by frame according to a series of patterns on particular plants situated in different areas of several contiguous sunflower fields, Sunflowers tries to make the whole spatio-temporal representation gain a certain stability, while keeping the graphic elements of the image mobile. The small cluster of frames, filmed one after the other, overlap each other on the screen to form various configurations. Filmed near Bedarrides, Vaucluse.Read More »

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A decade after quitting Hollywood, legendary director Nicholas Ray accepted a teaching contract at Harpur College in Binghamton, NY. There, with the intensive collaboration of his students, he began work on a project unlike anything he had done before, the making of which would consume his creative energies for the remainder of his life. Entitled We Can’t Go Home Again, that film is Ray’s enormously ambitious, profoundly personal, wildly experimental magnum opus – a collection of notes on Vietnam-era America, the generation gap and the filmmaking process itself, conceived in a dizzying kaleidoscope of split screens, superimpositions and other radical image manipulations that anticipate later trends in video art and digital effects.Read More »

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… almost like the Earth itself – the green ice covered rocks, the slicing feeling, the compressive feeling of the glaciers. The whole time I was watching I kept thinking that you were a master of the north, the arctic landscape – the red flowers in the dusky light, the deep blue light, the tall trees with running mists, and Jane looking… The ice, the water, the moss, the golden light. A visual symphony… – Hollis MeltonRead More »

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“An attempt to conjure pictorially, from the mind, an image that isn’t referential: I’d like to give something back, not a picture of a flower, but some flower that couldn’t exist except on film.”Read More »