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Untitled (2008), 16mm film performance; technical specifications: double 16mm film projection, electric humidifiers; glass, mixed media; original score by Olivia Block. A minimalist monochromatic film frame is projected through a glass pane fogged via a humidification system.Read More »
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“In 1944 Maya made a film at the Peggy Guggenheim Art of this Century Gallery with Marcel Duchamp called Witches Cradle. Deren used the camera, as she envisioned medieval witches and magicians did, to ‘defy’ time and space through the disappearance and reappearance of objects. Based on an article written by the Frenchman Charles Duits, colleague of Andre Breton and an extra in Ritual in Transfigured Time, Deren compared these medieval witches and magicians to the surrealists, and had a brief association with the movement. She resisted the label attached to her work and defended her position in scholarship and on tour for lecture/demonstrations.” (algonet.se)Read More »
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Ritual in Transfigured Time is like a dream, meaning that the various sequences don’t seem to have any connection to each other unless you try to approach this film in a different way and not as a conventional hollywood movie.
The main character in the film is Rita Christiani who after a strange scene with Maya Deren herself who disappears startling Rita, appears in this ball with ladies and gentlemen dancing. This film has one of the most beautiful scenes in a Maya Deren’s film when Rita Christiani while she’s dancing she appears to float in the air.Read More »
On October 9th, 1972 an exhibition of John Lennon/Yoko Ono’s art, designed by the Master of the Fluxus movement, George Maciunas, opened at the Syracuse Museum of Art, in New York. On the same day an unusual group of John’s and Yoko’s friends, including Ringo, Allen Ginsberg, Paul Krasner, and many others, gathered to celebrate John’s birthday. This film is a visual and audio record of that event.Read More »
The Brighton Beach—Coney Island boardwalk is a long, winding, ocean front walkway adjacent to the Atlantic Ocean. Photographed over a three year period, the landscape rendered reflects the seasonal changes, daily activities, and the filmmaker’s projected future.Read More »
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‘The Dislocation of Amber’ was filmed in the city of Suakin, a formerly flourishing port in Sudan, now in ruins. Its history is one of famine and opulence, devastation and progress, rich trade and damage, and colonialism. Shariffe used symbols to accentuate a sense of desertion and alienation hinted at in the title. This surreal masterpiece of Sudanese cinema features poems sung by the late Sudanese singer Abdel-Aziz Dawoud.Read More »
“This is the story of a dog who makes films. Or a filmmaker who is a dog. In a series of return trips between Brittany and Lisbon, the protagonist tries to create a filmed animal diary. On the road to Lisbon, he talks with a Portuguese producer, to attempt to show all the sincerity of the canine gaze in his film. An extensive consideration of the thousand-year-old interdependency between humans and dogs thus develops through the prism of ethology and film. In particular, he calls on the history of cinema, from which he unearths hundreds of film excerpts featuring dogs, who become perfect heroes and actors when they find themselves alone in a shot. In this second feature-length film, Maxime Martinot makes a resolutely film-and-dog-loving animal comedy, a profound and cheerful reflection at the heart of our images of the human and animal condition. And if there had to be a conclusion, perhaps it could be this: humans do not deserve dogs.”
Aurélien Marsais, Visions du RéelRead More »
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The creators of the skateboarding magazine Big Brother go on an East Coast tour, and get into some pretty wild shenanigans.
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This is one of the most wild movies I think I’ve ever seen, there’s quite literally no way this would’ve gotten released today. Most of it is skateboarding videos and that’s fun but the rest is people doing stupid shit and it’s hilarious but so bad at the same time, it is quite literally a product of it’s timeRead More »
The film tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba. Incorporating 16mm celluloid images, digital desktop captures and 3D CGI, the film also maps a technological trajectory: from historical methods of optical navigation to new algorithms of locating, from singular projection to multi-perspectival satellitic visions. Registering these technical advances progressively through the film’s materials and means of production, Sunstone creates “a cinema of affect, a cinema of experience – an Op- Film.”Read More »