Experimental

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«La Région Centrale» was made during five days of shooting on a deserted mountain top in North Quebec. During the shooting, the vertical and horizontal alignment as well as the tracking speed were all determined by the camera’s settings. Anchored to a tripod, the camera turned a complete 360 degrees, craned itself skyward, and circled in all directions. Because of the unconventional camera movement, the result was more than merely a film that documented the film location’s landscape. Surpassing that, this became a film expressing as its themes the cosmic relationships of space and time. Cataloged here were the raw images of a mountain existence, plunged (at that time) in its distance from civilization, embedded in cosmic cycles of light and darkness, warmth and cold.Read More »

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This Belgian surrealist work consists of two films, one commenting on the other, concerning a young man with a crucifixion complex. Imagining crosses everywhere, he even cuts his fried potatoes in the shape of a cross. Unable to buy a large cross, he settles for sixty francs worth of small ones, which he carries of in a paper bag. When the cross he finds to crucify himself on proves too small, a kindly priest volunteers to nail his feed to the floor. – J.H. Matthews, Surrealism and Film, 1971Read More »

“A collection of previously almost impossible to find early Psychic TV and Temple of Psychick Youth (TOPY) film and video creations unearthed from the archives of Porridge with Everything Inc. These include works by and/or featuring Derek Jarman,Genesis Breyer P-Orridge, Peter “Sleazy” Christopherson, Trojan, John Balance, Leigh Bowery, Cerith Wyn Evans, Marie Losier, Nicolas Jenkins, Mr. Sebastian, Hazel Hill, Lady Jaye P-Orridge and others.

DVD compiled and mastered by Hazel Hill. “Read More »

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Compline is a night devotion or prayer, the last of the canonical hours, the final act in a cycle. This film is also the last film I will be able to shoot in Kodachrome, a film stock I have shot since I was 10 years old. It is a loving duet with and a fond farewell to this noble emulsion.
–Nathaniel DorskyRead More »

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In THE BETRUCTION OF THE BLUE SAILORS, Tabea Blumenschein “plays four different roles in changing appearances and in fantastic costumes that structure the film: a mythical figure that permeates the film on desert sand with siren song; a bird that is killed; a Hawaiian girl and a Sailors. While the siren, accompanied by Asian music, strides along the desert, sailors and birds become the victims of perverted naturalness in the form of the wild Hawaiian girl.” (Claudia Hoff) In the collage principle, areas and quotations from commercialized everyday life and the music, which ranges from noises, sacred gongs, Hawaiian music, Schuricke melodies, musette waltzes to Burmese songs and cultic Ketchak rhythms, and the language – literary texts by Apollinaire, which already use the quotation method, phrases from the world of American show business (Hollywood veteran star), lamentations of a Russian silent film mother […], come satire, the grotesque, the caricature, the clown and the doll up; and it is the deep meaning of these forms of expression, through the demonstration of the marionette-ness, the mechanization of life, through the apparent and real torpor, to let us imagine a different life. (Raoul Hausman). (From the conversation between Ulrike Ottinger/ Tabea Blumenschein and Hanne Bergius)Read More »

Bruce Baillie’s (…) Quixote (1965) stands alongside other synoptic 60s masterpieces such as Stan Brakhage’s The Art of Vision and Peter Kubelka’s Unsere Afrikareise, which use dense collages of diverse images in an attempt to make sense of a troubling world. In Quixote wild horses and a basketball game are part of a cross-country trip that ends with an antiwar demonstration in Manhattan. Baillie says he’s depicting our culture as one of conquest, but his film’s greatness lies not in its social analysis, which can seem as simpleminded as equating businessmen with pigs. Rather it’s in the way his superimposed and intercut images float almost weightlessly in space, creating a hypnotic sense of displacement that lets us see beyond aggression.Read More »

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A performer faces a seated audience. Behind the performer, covering the back wall (parallel to the frontal view of the seated audience), is a mirror reflecting the audience.Read More »

A tortured artist is stuck in an abusive relationship with a woman, whose torments (demonstrated through nightmarish scenes of disembowelment) are slowly driving him mad.Read More »

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Recording of the annual Christmas folklore street ritual Krampus in Austria, in which people dressed up as hairy monsters scare the wits out of the population. The accompanying metal soundtrack by The Melvins provides a curious American perspective.Read More »